Scenario of the extra-curricular event “A cute image of a mother” (based on the works of writers and poets of the 19th-20th centuries) Purpose: - to recall the works of writers and poets, which describe a cute image of a mother; - get acquainted with those works where there is an image of the mother. Educational goal: education of respect for the mother and love for her. Equipment: colored crayons, photographs of mothers, texts of works, drawings of students, wall newspapers. On the board (screen): poster: "A woman - a mother - is life, hope and love." The prophet spoke: - There is no god but God! I say: - There is no mother, except for mother ...! (R. Gamzatov) In Russian “mama” In Vainakh “nana” And in Avar affectionately “woman” Of the thousands of words of the earth and ocean This one has a special fate. (R. Gamzatov, "Mom") You knew the caresses of the mothers of relatives But I did not know, and only in a dream In my dreams of children's gold Mother sometimes appeared to me Oh, mother, if I could find you, My fate would not be so bitter ( from the song of the film "Generals of the sand quarries") Mom! Dear mom! How I love you ... (from the song) Different mothers are needed, All kinds of mothers are important. (S. Marshak, verse. “What about you?”) Word of the teacher: The image of the mother already in oral folk art acquired the captivating features of the keeper of the hearth, the hard-working and faithful wife, the protector of her own children and the unchanging guardian for all the destitute, offended and offended. These defining qualities of the mother's soul are displayed and sung in Russian folk tales and folk songs. Mother ... Dearest and close person. She gave us life happy childhood. The mother's heart, like the sun, shines always and everywhere, warming us with its warmth. She is our best friend , wise adviser. Mother is our guardian angel. That is why the image of the mother becomes one of the main ones in Russian literature already in the 19th century. The theme of the mother sounded really deeply in the poetry of Nikolai Alekseevich Nekrasov. The image of the mother is vividly represented by A.N. Nekrasov in many of his works (“In the full swing of rural suffering”, “Orina, the mother of a soldier”, “Listening to the horrors of war”, “Who lives well in Russia”). Host: And today we have an extra-curricular event, the theme of which is “A sweet image of a mother” based on the works of poets and writers of the 19th-20th centuries. And our lesson will begin with a poem by Nikolai Zabolotsky, dedicated to the sweetest and dearest image - the image of the mother. Harrowing cough at night. The old woman fell ill. For many years she lived in the apartment of our lonely old woman. There were letters! Only very rarely! And then, not forgetting us, All went and whispered: "Children, you should come to me at least once." Your mother is bent, old What can you do! Old age has approached. It would be nice if we sat side by side at our table. You walked under this table, Gathered, sang songs until dawn, And then parted, sailed away. That's it, go and collect you! Mother got sick! And the same night the Telegraph did not get tired of knocking: “Children, urgently! Children, very urgent, Come! Mother got sick! From Kursk, from Minsk, from Tallinn From Igarka, Putting things aside for the time being, The children gathered, but it's only a pity At the bed, and not at the table. Shaking her wrinkled hands, Stroking a silver strand. Have you allowed separation to stand between you for such a long time? Did only telegrams Lead you to fast trains? Listen, there is a shelf, Come to them without telegrams. Host: Many prose and lyrical works are dedicated to the image of a dear mother. Mikhail Yuryevich Lermontov wrote in his poem "The Caucasus": In my infancy I lost my mother, But I remembered that in the pink evening hour That steppe repeated to me a memorable voice. Leading: And humbled by pain and suffering, he put the words into the mouth of Mtsyri (the poem "Mtsyri"): I could not say the Sacred words "father and mother" to anyone. Teacher's word: Nekrasov's traditions are reflected in the poetry of the great Russian poet Sergei Alexandrovich Yesenin. Through the work of S.A. Yesenin passes the bright image of the poet's mother. S.A. Yesenin can be placed next to N.A. Nekrasov, who sang "tears of poor mothers". They will not forget their children, Who perished in the bloody field, How not to raise the weeping willow Their drooping branches. Presenter: The famous poet of the 20th century, Sergei Alexandrovich Yesenin, in the poem “A Letter to a Mother” wrote the following words, imbued with love for his mother: Are you still alive, my old woman? I'm alive too. Hello you, hello! Let that unspeakable evening light flow over your hut. They write to me that you, melting your anxiety, were very sad about me, That you often go to the road In an old-fashioned shabby shushun ... Presenter: Pay attention to the epigraphs written on the board. (Reads the statements written on the blackboard.) Different people, different times, but the thought is the same. And now listen to a poem by Rasul Gamzatov, our fellow countryman, an Avar by nationality, who passed away in 2003.

The meaning of the image of the mother in Russian poetry

The image of the mother has long been inherent in Russian poetry and Russian culture as a whole. This topic takes important place both classical and modern poetry. Moreover, the Russian image of the mother is a national cultural symbol that has not lost its high value from ancient times to the present day. It is characteristic that the image of the mother, growing out of the image of a specific person, the mother of the poet, becomes a symbol of the Motherland.

The history of the development of the image of the mother in Russian poetry

The image of the mother in Russian poetry is successively connected with the folklore tradition. Already in folklore - in wedding and funeral songs - the image of the mother appears. In spiritual verses, this image appears through the image of the Mother of God, which is especially revered in Russia.

In the poetry of the 19th century, the theme of the mother is primarily associated with the names of M. Yu. Lermontov and N. A. Nekrasov. In the work of these poets, the image of the mother was given great importance. It can be argued that it was from the work of M. Yu. Lermontov that the image of the mother begins to enter classical poetry. A. S. Pushkin does not have a single poem dedicated to his mother, in the work of M. Yu. Lermontov there are several of them. For example, "Caucasus", "Angel".

The theme of the mother is truly deeply and fully represented in the work of N. A. Nekrasov. Many of the poet's poems are dedicated to the difficult fate of his own mother. Along with such a specific embodiment this image in the poetry of N.A. Nekrasov, there is also a generalized image - the folk image of the mother.

In the poetry of the twentieth century, the theme of the mother received its further development. In particular, in the work of such poets as N. Klyuev, A. Blok, S. Yesenin, A. Akhmatova, M. Tsvetaeva, A. Tvardovsky and others. It should be noted that in the poetry of the second half of the twentieth century, the theme of mother is inextricably linked with the theme of war or with the theme of the village.

The image of the mother is an eternal theme that will never lose its significance. Attitude towards the mother, love for her - this is the measure that accurately determines the level cultural development society, its moral values ​​and spiritual world each of its members.

The image of a mother in the poetry of N. A. Nekrasov (on the example of the poem "Listen to the horrors of war ...")

In world literature, the image of the mother is one of the most revered. Russian prose writers and poets also repeatedly turned to him, but in the literature of the 19th century, the image of the mother received a more complete and touching embodiment in the work of N. A. Nekrasov.

Until the end of his days, N. A. Nekrasov kept in his memory the bright image of his mother. The poet dedicated to her the poems "Last Songs", "Knight for an Hour", the poem "Mother". He missed her very much while studying at the Yaroslavl gymnasium, and then in St. Petersburg, during the years of difficult independent life, he was warmed by a feeling of deep affection and love for his mother.

ON THE. Nekrasov sympathized with the difficult and difficult life of his mother with a stern husband, a poorly educated army officer who became the despot of the family, and always remembered her with great warmth and tenderness. Warm memories of the mother manifested themselves in the poet's work in the form of works about the difficult fate of women in Russia. On a larger scale, the idea of ​​motherhood manifested itself later in such well-known works by N. A. Nekrasov as the chapter “Peasant Woman” from the poem “Who Lives Well in Russia”, the poem “Orina, a Soldier’s Mother”.

Thus, the image of the mother becomes one of the main goodies creativity of N. A. Nekrasov.

Let's take a closer look at the image of the mother in the work of N. A. Nekrasov using the example of the poem "Listening to the horrors of war ...", dedicated to Crimean War 1853 - 1856 This small-sized poem, only 17 lines, succinctly and deeply conveys the whole meaninglessness of a bloody and merciless war:

Listening to the horrors of war, With each new victim of the battle ...

The poet reflects on how grief for close people the death of a soldier will turn out, but he sympathizes first of all with the mother who lost her son in the war:

I'm not sorry for my friend, not my wife, I'm not sorry for the hero himself... Alas! the wife will be comforted, And the friend's best friend will forget; But somewhere there is one soul - She will remember to the grave!

For a mother, the death of her son is a real tragedy, because it is she who loves her child sincerely and selflessly, her whole life is filled with inexhaustible love for him, the meaning of her whole life is formed.

Amid our hypocritical deeds And all the vulgarity and prose I alone in the world spied Saints, sincere tears - Those are the tears of poor mothers!

When, over time, everyone - friends, wife - will forget about the deceased "hero", his mother, whom the poet compares with a weeping willow, will forever remember and grieve about him.

They will not forget their children, Who perished in the bloody field, How not to raise the weeping willow Their drooping branches...

Since writing this poem A lot of time has passed, wars have died down, more than one "hero" has died, but, unfortunately, it still has not lost its relevance. And will not lose as long as mothers will lose their sons in the war. The image of the mother presented in this work has become a collective image of all mothers who mourn their sons who did not return from the battlefields.

The image of the mother in the poetry of S. A. Yesenin (on the example of the poem "Letter to the Mother")

In Russian poetry of the twentieth century, the theme of the mother is continued in the work of S. A. Yesenin.

Let us turn to his poem "Letter to Mother". It was written in 1924 last period creativity and almost at the very end of the poet's life. In many of his works of that time, the theme of the irrevocably gone past sounds, but along with it, the theme of the mother also arises. One of these works was the poem "Letter to Mother", written in the form of an appeal to her. The whole poetic message is permeated with tenderness and love for the dearest person:

I'm still just as tender And I dream only of that, To return to our low house as soon as possible from rebellious anguish.

The poet admires the love and care of the mother, who worries about her son, worries about his life and fate. Longing and joyless forebodings make her more sad than happy:

They write to me that you, melting your anxiety, Have become very sad about me, That you often go to the road In an old-fashioned ramshackle.

The lyrical hero fails to reassure his mother in a letter, much is missed, lost or lost. He understands that the past cannot be returned, but his mother is the very thread that connects him with the past, carefree, bright and pure. This is where such tender and touching mutual love comes from.

And don't teach me to pray. No need! There is no return to the old. You are my only help and joy, You are my only inexpressible light.

The poetic message addressed to the mother ends with the call of the lyrical hero, which sounds like a heartfelt request, not to be sad, not to worry about your unlucky son. It is noteworthy that in the final lines there is no reassurance, promise, hope that everything will be fine. Indeed, in spite of everything, the mother will not stop worrying about her son, loving him sincerely and tenderly.

So forget about your anxiety, Don't be so sad about me. Don't go to the road so often In an old-fashioned shabby shushun.

The image of a mother in the poetry of A. T. Tvardovsky (on the example of the cycle "In Memory of a Mother")

The theme of the mother is present throughout the entire work of A. T. Tvardovsky. For example, in these poems different years, like "Mothers", "Song", "With one beauty you came to your husband's house ...", etc. Very often the image of the mother in the poet's works goes beyond the dedication to one specific person - his own mother - and becomes the image of the Motherland. So, the general image of a mother-woman is drawn in the poems "Son", "Mother and Son", "You will timidly raise him ...", especially in works dedicated to war (the poem "House by the Road").

In 1965, A. T. Tvardovsky created the cycle “In Memory of the Mother”. The cycle consists of four poems dedicated to the mother, in which memories of the mother's life are presented, and the poet's memory of her is also reflected. The reason for its appearance was the death in 1965 of the poet's mother, Maria Mitrofanovna. But in the last poem of this cycle, death gives way to life, it is presented by the poet as a kind of transition.

Water rower, Young guy, Take me to the other side, Side - home ...

The mother's song mentioned in the poem, familiar from childhood, tells her whole life. Farewell to the stepfather's house after marriage, parting with his native land and exile to an inhospitable foreign side and the long-awaited return to his homeland.

Tears of old youth, Not before those girlish tears, Like other transportations In life, I happened to see. As from the land of his native land, it's time to get rid of the distance. Another river flowed there - the Shire of our Dnieper.

In each line of this poem, one feels the depth of emotions, the most tender and at the same time sad feelings of the poet. The poem completes the theme of the mother in the work of A.T. Tvardovsky, but it depicts an ever-living image of a mother - both the poet's own mother and a generalized image of motherhood.

The image of the mother in the works of Russian literature.

Malkova Zumara Sagitovna.

MBOU "Bolshetarkhanskaya secondary school" Tetyushsky municipal district RT.

Lesson Objectives:

• trace how in Russian literature, true to its humanistic traditions, the image of a woman-mother is depicted
• develop the spiritual and moral world of students, their national identity
• instill in students a respectful attitude towards a woman-mother
• to educate a patriot and a citizen aimed at improving the society in which he lives

During the classes:

I. introduction teachers

PRESENTATION "PARABLE ABOUT MOTHER"

Russian literature is great and diverse. Its civic and social sound and significance is indisputable. From this great sea you can draw incessantly - and it will never become shallow. It is no coincidence that we publish books about comradeship and friendship, love and nature, soldier's courage and the Motherland... And any of these topics has received its full and worthy embodiment in deep and original works of domestic masters.

But there is another holy page in our literature, dear and close to any unhardened heart - these are the works about mother.

With respect and gratitude, we look at a person who reverently pronounces the name of his mother to gray hair and respectfully protects her old age; and with contempt we will execute the one who, in her bitter senile time, turned away from her, refused a good memory, a piece or shelter.

By the attitude of a person to his mother, the people measure their attitude towards a person.

II. Determination of the purpose of the lesson.

SLIDE #4 To trace how in Russian literature, true to its humanistic traditions, the image of a woman - a mother is depicted.

III. The image of the mother in oral folk art

Teacher's word. The image of a mother already in oral folk art acquired the captivating features of a keeper of the hearth, a hard-working and faithful wife, a protector of her own children and an unfailing guardian of all the destitute, offended and offended. These defining qualities of the mother's soul are reflected and sung in Russian folk tales and folk songs.

BULANOVA'S SONG "MAMA"

IV. The image of the mother in printed literature

teacher's word . In printed literature, which for obvious reasons was at first reserved for the upper classes, the image of the mother remained in the shadows for a long time. Perhaps the named subject was not considered worthy of a high style, or perhaps the reason for this phenomenon is more simple and natural: after all, then noble children, as a rule, were taken to educate not only tutors, but also nurses, and children of the nobility, in contrast to peasant children were artificially separated from their mother and fed on the milk of other women; therefore, there was a - albeit not quite conscious - dulling of filial feelings, which ultimately could not but affect the work of future poets and prose writers.

It is no coincidence that Pushkin did not write a single poem about his mother and so many lovely poetic dedications to his nanny Arina Rodionovna, whom, by the way, the poet often called tenderly and carefully - “mummy”.

Mother in the work of the great Russian poet N.A. Nekrasov

Mother ... The dearest and closest person. She gave us life, gave us a happy childhood. The mother's heart, like the sun, shines always and everywhere, warming us with its warmth. She is our best friend, a wise adviser. Mother is our guardian angel.

That is why the image of the mother becomes one of the main ones in Russian literature already in the 19th century.

Truly, deeply, the theme of the mother sounded in the poetry of Nikolai Alekseevich Nekrasov. Closed and reserved by nature, Nekrasov literally did not find enough bright words and strong expressions to appreciate the role of a mother in her life. Both the young man and the old man, Nekrasov always spoke of his mother with love and admiration. Such an attitude towards her, in addition to the usual sons of affection, undoubtedly followed from the consciousness of what he owed her:

And if I shake it off easily over the years
From the soul of my pernicious traces
Correcting everything reasonable with your feet,
Proud of the ignorance of the environment,
And if I filled my life with struggle
For the ideal of goodness and beauty,
And wears the song composed by me,
Living love deep features -
Oh, my mother, I am inspired by you!
You saved a living soul in me!
(From the poem "Mother")

Question to the class:

How did his mother "saved the soul" of the poet?

Student performances (reading and analysis of works).

Pupil 1 - First of all, being a highly educated woman, she introduced her children to intellectual, in particular literary, interests. In the poem "Mother" Nekrasov recalls that as a child, thanks to his mother, he became acquainted with the images of Dante and Shakespeare. She also taught him love and compassion for those “whose ideal is reduced grief,” that is, for serfs.

Pupil 2 - The image of a woman - a mother is vividly represented by Nekrasov in many of his works "In full swing, the village suffering"

Village suffering is in full swing...

Share you! - Russian female share!

Hardly harder to find.

No wonder you wither before the time

All-enduring Russian tribe

Long-suffering mother!

The heat is unbearable: the plain is treeless,

Fields, mowing and expanse of heaven -

The sun is beating down mercilessly.

The poor woman is exhausted,

A column of insects sways above her,

Stings, tickles, buzzes!

Lifting a heavy roe deer,

Baba cut her naked leg -

Once to calm the blood!

A cry is heard from the neighboring lane,

Baba there - kerchiefs were disheveled, -

Gotta rock the baby!

Why did you stand over him in a daze?

Sing him a song of eternal patience,

Sing, patient mother!

Are there tears, is she sweating over her eyelashes,

Right, it's wise to say.

In this jug, stuffed with a dirty rag,

They sink - anyway!

Here she is with her singed lips

Eagerly brings to the edges ...

Are the tears salty, my dear?

With sour kvass in half? ..

(Beginning 1863)

Nekrasov's poem “In full swing the village suffering ...” tells about the difficult lot of a Russian woman, mother, peasant woman. This theme is generally characteristic of Nekrasov's work, its occurrence is explained biographically. The poet grew up in a family where his father was a "domestic tyrant" who tormented his mother. From childhood, Nekrasov saw the suffering of his beloved women, mother and sister, whose marriage, by the way, also did not bring her happiness. The poet was very upset by the death of his mother and blamed his father for it, and a year later his sister died ...

"Orina, mother of a soldier"

Pupil 3 - Poem "Listening to the horrors of war"

The poem “Listening to the horrors of war...”, dedicated to the Crimean War of 1853-1856, sounds amazingly modern. And the madmen who draw new generations into wars do not want to understand anything. They don't hear the voice of reason. How many Russian mothers are close and understand this poem:
A small, only 17 lines, poem strikes with the depth of humanism contained in it. The poet's language is concise and simple, there are no detailed and complex metaphors, only precise epithets emphasizing the artist's intention: deeds are “hypocritical”, since they do not lead to an end to wars, only tears are “sincere”, and sincerely they are “alone”, everything else is a lie . The poet's conclusion is terrible that both the friend and the wife will forget - he also ranks them among the "hypocritical" world.
The poem ends with a comparison in the folklore style of mothers with a drooping weeping willow. The use of a folklore image gives the work a generalizing meaning: it is not about one Crimean war - about all, after which mothers and nature itself sob:

Teacher's word. "Who will protect you?" - the poet addresses in one of his poems.

He understands that, besides him, there is no one else to say a word about the sufferer of the Russian land, whose feat is irreplaceable, but great!

Nekrasov traditions in the image of the bright image of the mother - a peasant woman in the lyrics of S.A. Yesenin

(In the course of the teacher's lecture, Yesenin's poems about the mother are performed by students (by heart))

Nekrasov's traditions are reflected in the poetry of the great Russian poet S. A. Yesenin, who created surprisingly sincere poems about his mother, a peasant woman.

A bright image of the poet's mother passes through Yesenin's work. Endowed with individual traits, it grows into a generalized image of a Russian woman, appears in the youthful poems of the poet, as a fabulous image of the one who not only gave the whole world, but also made happy with the gift of song. This image also takes on the specific earthly appearance of a peasant woman, busy with everyday affairs: “Mother cannot cope with grips, bends low ...”

PRESENTATION "A LETTER TO A MOTHER" Yesenin(read by M. Troshin)

Fidelity, constancy of feelings, cordial devotion, inexhaustible patience are generalized and poeticized by Yesenin in the image of a mother. "Oh, my patient mother!" - this exclamation escaped from him not by chance: the son brings a lot of unrest, but the mother's heart forgives everything. So there is a frequent motive for Yesenin's son's guilt. On his trips, he constantly recalls his native village: it is dear to the memory of youth, but most of all, the mother yearning for her son attracts her there.

"Sweet, kind, old, tender" mother is seen by the poet "at the parental dinner." The mother is worried - the son has not been at home for a long time. How is he in the distance? The son tries to reassure her in letters: “There will be time, dear, dear!” In the meantime, "evening unspeakable light" is streaming over the mother's hut. The son, "still as gentle", "dreams only of how soon from the rebellious longing to return to our low house." In the "Letter to the Mother" filial feelings are expressed with piercing artistic power: "You are my only help and joy, you are my only inexpressible light."

Yesenin was 19 years old when, with amazing penetration, he sang in the poem "Rus" the sadness of maternal expectation - "waiting for gray-haired mothers."

The sons became soldiers, the royal service took them to the bloody fields of the world war. Rarely, rarely, “doodles drawn with such difficulty” come from them, but their “frail huts”, warmed by a mother’s heart, are always waiting for them. Yesenin can be placed next to Nekrasov, who sang "the tears of poor mothers."

They can't forget their children
Those who died in the bloody field,
How not to raise a weeping willow
Of their drooping branches.

Poem "Requiem" by A.A. Akhmatova.

These lines from the distant 19th century remind us of the mother's bitter cry, which we hear in Anna Andreevna Akhmatova's poem "Requiem". Here it is, the immortality of true poetry, here it is, the enviable length of its existence in time!

The poem has real basis: 17 months (1938 - 1939) Akhmatova spent in prison queues in connection with the arrest of her son, Lev Gumilyov: he was arrested three times: in 1935, 1938 and 1949.

The poem "Requiem" is a tribute to those terrible years and to all those who have walked this difficult path with her, to all those who have been noticed, to all the relatives of the condemned. The poem reflects not only the personal tragic circumstances of the author's life, but also the grief of all Russian women, those wives, mothers, sisters who stood with her for 17 terrible months in prison lines in Leningrad.

(Excerpts from the poem are performed by the masters of the artistic word. Phonochrestomathy. Grade 11)

But this is not only the fate of one mother. And the fate of many mothers in Russia, day after day standing idle in front of prisons in numerous queues with parcels for children arrested by the bearers of the regime, the Stalinist regime, the regime of cruel repressions.

Mountains bend before this grief,
The great river does not flow
But the prison gates are strong,
And behind them "convict holes"
And deadly sadness.

Mother goes through the circles of hell.

The theme of intercession for millions of mothers sounded from the lips of Akhmatova. The author's personal experience is drowning in the nation's suffering:

Audio recording, read by Akhmatova:

No, it's not me, it's someone else suffering.

I couldn't do that, but what happened

Let the black cloth cover

And let them carry the lanterns ...

The fate of the mother and son runs through the whole poem, the images of which are correlated with the gospel symbols. Here before us is a simple Russian woman, in whose memory the crying of children will forever remain, the candle that has swollen near the goddess, the sweat of death on the forehead of a loved one who is taken away at dawn. And she will also cry for him, as the archery "wives" once cried under the walls of the Kremlin. That in the form lyrical heroine the features of Akhmatova herself appear, who does not believe that everything is happening to her - the "mockery", "the favorite of all friends", "the Tsarskoye Selo sinner". Poet Akhmatova fulfilled her duty with honor - she glorified and glorified the suffering of thousands of mothers who became victims of bloody arbitrariness.

"Requiem" is a universal verdict on an inhuman system that dooms a mother to immeasurable and inconsolable suffering, and her only lover, her son, to non-existence.

The tragedy of the image of the mother in the works about the Great Patriotic War.

teacher's word

The image of the mother has always carried the features of drama. And he began to look even more tragic against the backdrop of the great and terrible in its bitterness of the past war. Who more than a mother endured suffering at this time? About this are the books of mothers E. Kosheva "The Tale of the Son", Kosmodemyanskaya "The Tale of Zoya and Shura" ...

Can you tell me about it -
What years did you live in!
What an immeasurable heaviness
On women's shoulders lay down!
(M, Isakovsky).

Our mothers not only lost their sons, survived the occupation, worked to exhaustion, helping the front, but they themselves died in fascist concentration camps, they were tortured, burned in the ovens of crematoria.

Question to the class

Why are the people to whom it was the woman-mother who gave life so cruel to her?

(Answers-speech, reflections of students)

Vasily Grossman's novel "Life and Fate"

In the novel by Vasily Grossman "Life and Fate" violence appears in different forms, and the writercreates vivid, poignant pictures of the threat it poses to life.

A student reads a letter from Anna Semyonovna, the mother of the physicist Shtrum, written by her on the eve of the death of the inhabitants of the Jewish ghetto. READ MOTHER'S LETTER

"Vitya, I'm sure my letter will reach you, although I'm behind the front line and behind the barbed wire of the Jewish ghetto. I'll never get your answer, I won't be there. I want you to know about my last days, with this thought I easier to pass away.

Vitenka, I am finishing my letter and will take it to the ghetto fence and give it to my friend. This letter is not easy to cut off, it is my last conversation with you, and having forwarded the letter, I finally leave you, you will never know about my last hours. This is our very last parting. What will I say to you, saying goodbye, before eternal separation? These days, like all my life, you were my joy. At night I remembered you, your children's clothes, your first books, I remembered your first letter, the first school day, everything, everything, from the first days of your life to the last news from you, a telegram received on June 30th. I closed my eyes, and it seemed to me - you shielded me from the impending horror, my friend. And when I remembered what was happening around, I was glad that you were not near me - let the terrible fate blow you away.

Vitya, I have always been lonely. On sleepless nights, I cried from longing. After all, no one knew this. My consolation was the thought that I would tell you about my life. I’ll tell you why your dad and I broke up, why I lived alone for such many years. And I often thought how surprised Vitya would be when he learned that his mother made mistakes, went crazy, was jealous, that she was jealous, was like all young people. But my fate is to end my life alone without sharing with you. Sometimes it seemed to me that I should not live away from you, I loved you too much, I thought that love gives me the right to be with you in my old age. Sometimes it seemed to me that I should not live with you, I loved you too much.

Well, enfin... Be always happy with those you love, who surround you, who have become closer to your mother. Forgive me.

From the street you can hear the crying of women, the cursing of the police, and I look at these pages, and it seems to me that I am protected from a terrible world full of suffering.

How can I finish my letter? Where to get strength, son? Are there human words that can express my love for you? I kiss you, your eyes, your forehead, hair.

Remember that always in the days of happiness and in the day of grief, motherly love is with you, no one can kill her.

Vitenka... Here is the last line of my mother's last letter to you. Live, live, live forever... Mom."

Students' impressions of what they heard (sample answers)

Student 1 - It cannot be read without a shudder and tears. Horror, a feeling of fear seize me. How could people endure these inhuman trials that fell to their lot. And it is especially scary, it becomes uncomfortable when the mother, the most holy creature on earth, feels bad.

Disciple 3 - Mother is capable of any sacrifice for the sake of children! Great is the power of mother's love!

teacher's word

Vasily Grossman's mother died in 1942 at the hands of fascist executioners.

In 1961, 19 years after his mother's death, his son wrote her a letter. It was preserved in the archive of the writer's widow.

I READ THE LETTER OF THE SON

Dear mother, I learned of your death in the winter of 1944. I came to Berdichev, entered the house where you lived, and understood. That you are not alive. But as early as September 8, 1941, I felt in my heart that you were gone.

At night at the front, I had a dream - I entered the room, clearly knowing that this was your room, and saw an empty chair, clearly knowing that you slept in it: hanging from the chair was a handkerchief with which you covered your legs. I looked at this empty chair for a long time, and when I woke up, I knew that you were no longer on earth.

But I did not know what a terrible death you died. I found out about this by asking people who knew about the mass execution that took place on September 15, 1941. I tried dozens of times, maybe hundreds, to imagine how you died. As you went to your death, I tried to imagine the person who killed you. He was the last one to see you. I know you've been thinking about me a lot all this time.

Now for more than nine years I have not written letters to you, I do not tell you about my life and affairs. And during these nine years, so much has accumulated in my soul. That I decided to write to you, tell you and, of course, complain, since, in essence, no one cared about my sorrows, only you cared about them. I will be frank with you... First of all, I want to tell you that over these 9 years I was able to truly believe that I love you - since my feeling for you has not diminished one iota, I do not forget you, I do not calm down, I am not consoled, time does not heal me.

My dear, it's been 20 years since you died. I love you, I remember you every day of my life, and my grief has been relentless for all these 20 years. You are human to me. And your terrible fate is the fate of a man in an inhuman time. All my life I keep the faith that all my good, honest, kind - all this is from you. Today I re-read several of your letters to me. And today I cried again, reading your letters. I cry over the letters - because you are your kindness, purity, your bitter, bitter life, your justice, nobility, your love for me, your concern for people, your wonderful mind. I am not afraid of anything, because your love is with me, and because my love is always with me.

And that hot tear shed by the writer for his old mother and for the Jewish people burns our hearts and leaves a scar of memory on them.

V. Final word of the teacher. Summarizing.

Your Mom is always with you: she is in the whisper of the leaves when you walk down the street; she is the smell of your freshly laundered socks or bleached sheets; she is a cool hand on your forehead when you are not feeling well. Your Mom lives inside your laughter. And she is a crystal in every drop of your tears. She is where you arrive from Heaven - your first home; and she is the map you follow with every step you take.

She is your first love and your first grief, and nothing on earth can separate you. No time, no place...not even death!

Watching an excerpt from the movie "Moms", 2012.

VI. Homework (differentiated):

1. prepare an expressive reading (by heart) of a poem or prose about the mother
2. essay "I want to tell you about my mother ..."
3. composition - essay "Is it easy to be a mother?"
4. monologue "Mother"
5. Screenplay "The Ballad of a Mother"

The history of development and the meaning of the image of the mother in Russian poetry.

Chapter 2. The image of the mother in the poetry of A. Blok.

Chapter 3. The image of the mother in the poetry of A. Akhmatova.

Chapter 4. The image of the mother in the poetry of A. Tvardovsky.

Introduction to the thesis (part of the abstract) on the theme "The Image of the Mother in Russian Poetry of the 20th Century: A. Blok, A. Akhmatova, A. Tvardovsky"

The image of the mother has been so long and organically inherent in Russian literature that it seems possible to consider it as a special literary phenomenon that has deep roots and occupies an important place in both classical and modern poetry. Taking its source from the very birth of Russian literature, the image of the mother consistently passes through all stages of its development, but even in the poetry of the 20th century it retains its main features that were characteristic of it from the beginning. The Russian image of the mother is a national cultural symbol that has not lost its high value from ancient times to the present day. It is no coincidence that when speaking about the national Russian cosmos, Russian consciousness, the Russian model of the world, philosophers and culturologists spoke, first of all, about the “mother” in the foundation of the Russian. Mother Earth, Mother Russia, Mother of God are the main and highest aspects of this maternal. In Russian literature, the image-symbol of the mother has always existed, resuming in different periods, however, in the 20th century it is especially in demand in poetry as a kind of emblematic sign of the era. The largest representatives of the mother theme in the poetry of the 20th century are A. Blok, A. Akhmatova, A. Tvardovsky, whose work we will consider in detail in connection with the embodiment of the image of the mother in each of them and in the poetry of the 20th century as a whole. However, despite the obvious givenness and notorious fame of the presence and even dominance of the “maternal” theme and the image of the mother in Russian culture, the image of the mother as a literary category remains essentially unknown, “closed” and practically unexplored in science. Based on this contradiction and the urgent need, we decided to approach the study of the problem of embodying the image and theme of the mother in Russian poetry. The main interest for us is the period of the 20th century in literature, however, in order to reveal the topic as fully as possible, we will also have to turn to the history of literature in previous periods.

The main difficulty in selecting materials on the problem of the theme of the mother in Russian poetry lies in the fact that this topic has not yet been covered in the science of literature. In this regard, the work was carried out as a careful selection and integration of disparate information from various artistic and scientific sources.

The literary and artistic material, on the example of which we study the theme of the mother, were the works of Russian verbal art different eras. In addition to the main material, chronologically limited by the 20th century, the basis of our research is folklore, literary works of the period of Ancient Russia, the classical period of Russian poetry (on the example of the poetic work of M.Yu. Lermontov and N.A. Nekrasov as the main and essentially the only exponents mother themes in 19th-century poetry). We also turned to classical and modern works on folklore and ancient Russian literature, such as: V.Ya.Propp "Poetics of Folklore"; A.N. Veselovsky "Investigations in the field of Russian spiritual verse"; G.P. Fedotov “Spiritual Poems (Russian Folk Faith According to Spiritual Poems)”; V.P. Anikin "Russian oral folk art"; E.M. Meletinsky “On the origin of literary and mythological plot archetypes”; D.S. Likhachev "Man in the literature of Ancient Russia", "Poetics ancient Russian literature”, “Development of the Russian Literature X-XVII centuries"; F.I. Buslaev “Ideal female characters Ancient Russia"; A.S. Demin "On Old Russian literary creativity." Regarding the development of the theme of the mother in the poetry of the 19th century, the following works are most important for our study: B.M. Eikhenbaum "Lermontov"; D.E. Maksimov "Lermontov's Poetry"; L.Ya.Ginzburg "Lermontov's lyrics"; D.S. Merezhkovsky “M.Yu. Lermontov. Poet of superhumanity"; S. Durylin "On the way to realism"; S. Semenov "Vestnichestvo Lermontov"; as well as the monograph by A.N. Berezneva “Successive Relations in Russian Poetry”, which compares the work of Lermontov and Nekrasov in two aspects: the theme of the motherland and the development of the female image (in the second case, the image of the mother is also considered). Since the key in the study of the theme of mother in the poetry of the 19th century is the name of N.A. Nekrasov, we actively involved literature on the work of Nekrasov: B.M. Eikhenbaum "Nekrasov"; Yu.Tynyanov "Nekrasov's verse forms"; K. Chukovsky "Skill of Nekrasov"; V. Evgeniev-Maksimov "Life and work of Nekrasov"; N.N. Skatov "Nekrasov"; articles: R.B. Zaborova “From the poem “Mother” (textological observations)”, Z.P. Ermakova “Mother” by N.A. Nekrasov as romantic poem". Theoretical works on the problem of interest to us belong to various areas scientific thought - historical, philosophical, literary criticism, which is due to insufficient coverage of our topic in the science of literature. Unfortunately, none of these works is devoted specifically to the theme of the mother in Russian literature. On general issues of cultural studies related to the origins of the image of the mother in world culture, the following were involved: D. Fraser " golden branch”, K.G. Jung “Soul and Myth: Six Archetypes”, E. Neumann “The Great Mother”, R. Graves “Myths ancient greece”, in relation to the origins of the Russian image of the mother, this is primarily A.N. Afanasyev “Poetic views of the Slavs on nature”, as well as more modern ones: G.D. Gachev “National images of the world”, his own “Mentalities of the peoples of the world”; O.V. Ryabov "Russian philosophy of femininity (XI-XX centuries)". As historical sources that give an idea of ​​the aspect of motherhood in remote eras, the following were used: B.A. Rybakov "Paganism of the ancient Slavs"; Ya.N.Shchapov "Marriage and family in Ancient Russia"; N.L. Pushkareva "Mother and motherhood in Russia (X-XVII centuries)". (N.L. Pushkareva also owns the unique work “Russian Woman: History and Modernity” (M., 2002), which contains colossal material - all publications relating to Russian women for the period from 1800 to 2000. Unfortunately, this book is extremely inconvenient to use: it is a huge bibliographic index on the so-called women's issue, publications (articles, notes, books, dissertations, reports, etc.) are located in it in chronological order regardless of their special affiliation. Thus, the embodiment of the mother theme in literature that interests us is drowned in a multitude of historical, legal, psychological, sociological, medical and other documents. The lists remain without the author's commentary, and only at the end of the book is a different division of the material undertaken, and a list of authors is recommended on the topic of motherhood. However, even this list helped us very little in our work, since the authors recommended for study also belong to different fields of science). All these works, being, in fact, "indirect material" for our study, helped to cover the topic of the mother on early stages its development, to trace its genesis from its inception to its incarnation in the poetry of the 20th century. The need for such a deepening in history is due to the specifics of the topic of our dissertation research, as well as its insufficient study in the science of literature.

In the process of research, from the entire volume of poetic material, we single out three main names - authors who created on rich cultural soil, inheriting traditions, three different individual currents of the theme of the mother and the images of the mother corresponding to them - A. Blok, A. Akhmatova, A. Tvardovsky. The work of these poets most clearly demonstrates the elevated importance of the theme and the image of the mother, the transition from the female image classical poetry to the image of the mother. Together they also represent a certain line of development literary process- a certain general “path of incarnation”, as a result of which romanticism is replaced by realism, prose tendencies in poetry increase, some stylistic features appear that most often accompany the theme of the mother (attention to objective reality, epic tendencies, prosaic poetic language, laconism, simplicity of artistic means used and etc.).

At the same time, each of them individually represents his own special image of the mother, associated with the real-biographical context, the historical situation that was refracted in their poetry, with various literary influences and poetic traditions of their predecessors, as well as with the individual author's features of poetics.

The problems of poetics of all three authors indicated in the title of the work are covered very widely and in detail in Russian philology.

Blok's heritage has been comprehensively studied, the bibliography on his work begins its history during the life of the poet and is constantly updated with works. contemporary authors. Even during his lifetime, or immediately after his death, A. Bely wrote about him (“A. Blok”, Speech at the LXXXIII open meeting of the Free Philosophy Association (August 1921), Speech at the evening in memory of Blok at the Polytechnic Museum, “Memoirs about Block"); Yu.N. Tynyanov ("Block"); B.M. Eikhenbaum ("The Fate of the Blok"); K.I. Chukovsky (“A. Blok”); V.M. Zhirmunsky (“Poetics of A. Blok”). Their works, which are of absolute value for each subsequent study of Blok's work, also served in our study to clarify the creative path of Blok as a whole, his place in the poetic hierarchy of the era in the assessments of his contemporaries, and those features of poetics that stood out already at the first stage of studying his heritage. The same role in the context of our study was played by LL Ginzburg's article "Heritages and Discoveries", which examines Blok's work from the angle of its connections with the traditions of all previous Russian poetry. The most important definitions of the features of Blok's poetics and the main provisions of these works, such as, for example, the autobiography of his lyrics; Tynyanov's notion of "lyrical hero", which arose precisely because of Blok; as a metaphorically transformed world and the fact that Blok is a “poet of metaphor”1, and the fact that “a conscious, theoretically formulated attitude to myth, folklore,

1 Zhirmunsky V.M. Poetics of A. Blok. / Theory of Literature. Poetics. Stylistics. J1., 1977. a poetic symbol as an expression of some eternal, otherworldly and, moreover, objective realities", as well as the fact that "Blok's work does not exist outside the search for the absolute, but the content of these searches changes from the first book to the third", "all this is taken into account us as the starting points about Blok's lyrics, and, accordingly, related to the study of the theme of the mother in his poetry.

Of great importance for the work are the works of ZG Mints "Blok's Lyrics" and "Blok's Poetics"; D.E. Maksimova "Poetry and prose of A. Blok"; K. Mochulsky "A. Block" as giving an idea of ​​the path of the poet in his chronological development, revealing the patterns and results of this path. In this regard, we need work modern researcher poetics of Blok by D. Magomedova "Autobiographical myth in the work of A. Blok", which shows the connection of Blok's work with the "biographical series", as well as with the sacred plane; special, Blok's, erasing the boundaries between the texts of life and the texts of art.

In order to comprehend Blok's work in the context of his era and some understanding of the higher religious and philosophical aspect in the central female image of his poetic world, we turned to the following sources: A. Bely "The Beginning of the Century", "At the Turn of Two Centuries"; works about V. Solovyov (V. Ivanov "On the significance of V. Solovyov in the fate of our generation", A.F. Losev "Philosophical and poetic symbol of Sophia in V. Solovyov", V. Kravchenko "V. Solovyov and Sophia"); D. Andreev "Rose of the World"; O. Ryabov "Woman and Femininity in the Philosophy of the Silver Age".

A fundamentally important point in the study of the Blok theme of the mother is the establishment traditional ties his poetry with folklore and the "folk" line in poetry, especially with Nekrasov. In light of this, the works of N.N. Skatov "Russia at A. Blok and the poetic tradition of Nekrasov" are important; N.Yu.Gryakalova "On folklore origins poetic imagery Block";

2 Ginzburg L.Ya. Heritage and discoveries. About lyrics. M.-J1., 1964. P. 239 articles of the collection "Poetry of A. Blok and folklore-literary traditions" (Omsk, 1984). Of particular value is the work of G.P. Fedotov "On the Kulikovo field". Also in the above articles, the theme of the mother in Blok's poetry is partly touched upon, or what is connected with it stands close to it, through the images of the Mother of God and Russia.Fedotov, peering into the ever-changing face of Russia in Blok, asks the question: mother or wife? L.K. Dolgopolov emphasizes relying on Nekrasov in Blok’s search for Russia: “It is here that Blok acts as a direct successor to the Nekrasov tradition, which also uses the same supporting poetic categories as Nekrasov (for example, the image of the motherland in its direct correlation with the image of the mother , which has already been noted in the research literature. 3 However, we have to admit the fact that in most works about Blok, any significance of the image of the mother in his poetry is denied, even in connection with the image of the motherland, with which we cannot agree I. Both Fedotov and Skatov in their articles talk about Blok replacing the image of his mother with the image of his wife, about Blok's "erotic" attitude towards Russia, and tend to reduce his image of the motherland to a female image. In our opinion, the image of Russia that Blok created as a result of his path can be equated precisely and only with the image of the mother. Of course, in the study of the theme of the mother in Blok, we could not do without the memoirs of M.A. Beketova (essays "A. Blok" and "A. Blok and his mother"), providing "vital" material for the foundation of the poetic theme of the mother in Blok. With all the everyday “non-ideal” nature of Blok’s relationship with his mother, in real life However, they also served as the basis for the theme of the mother in poetry, despite the fact that researchers who occasionally touched on this issue denied that dominant role to Blok’s image of the mother in comparison with Nekrasov’s: “The poet himself said that he and his mother almost same. This is typical. Nekrasov's is not at all "one and the same". With all the sense of inseparability and spiritual kinship, she

3 Dolgopolov J1.K. A. Blok. Personality and creativity. JI., 1980. S. 93.

Something higher, something perfect. It is curious that Blok has a lot of poems, starting from the earliest, dedicated to the mother. But these are dedications to her (my mother), and not poems about her. Mother does not turn out to be for Blok, as for Nekrasov, an internal lyrical theme. It does not universalize into a higher all-encompassing idea. We cannot agree with the last provisions, since in our opinion the fact that the theme of the mother in Blok has the character of dedication, conversion, just does not prevent her from becoming the "internal lyrical theme" of his poetry. At the same time, we do not equate the author's real mother with the maternal image that arises in his the art world and includes many ideas and motives that are significant for the poet. The bibliography on the work of the next two central figures of this work is also extremely extensive and long in time of its existence.

Already from the moment of the release of the first collections by A. Akhmatova (“Evening” 1912, “Rosary”, 1914), from the well-known foreword by M. Kuzmin, and further in the articles by V. M. Zhirmunsky “Overcoming Symbolism”, N.V. Nedobrovo “ Anna Akhmatova" the most important features of her early poetic manner were identified: such as increased attention to "material" specific details, the connection between the psychological state of the lyrical heroine and those around her subject environment, laconism of the poetic manner, conciseness, aphorism, "epigrammatic" style, the use of "intellectual colloquial vocabulary" and intonations according to V.V. Vinogradov. Mandelstam was the first to observe the growth of Akhmatov’s poetry from the psychological prose of the 19th century: “There would be no Akhmatova if there weren’t Tolstoy with Anna Karenina, Turgenev with The Noble Nest, all Dostoevsky and partly even Leskov. Genesis Akhmatova whole

4 Skatov N.N. Russia according to A. Blok and the poetic tradition of Nekrasov. / In the world of Blok. M., 1981. P.99. lies in Russian prose, not poetry. During the life of the poet, works appeared in the style of Akhmatova: V.V. Vinogradov "Akhmatova's Poetry", B.M. Eikhenbaum "Anna Akhmatova. Analysis experience. More modern works consider in general the creative path and evolution of Akhmatova's poetics (V.M. Zhirmunsky "Creativity of A. Akhmatova", "A. Akhmatova and A. Blok"; K. I. Chukovsky "A. Akhmatova"; A.I. Pavlovsky "A. Akhmatova. Life and work"; M. L. Gasparov "Akhmatova's verse"), as well as any individual aspects of her poetics (L. Ya. Ginzburg, E. S. Dobin, B. O. Korman, A.E.Anikin, E.B.Tager, O.A.Kling, D.M.Magomedova, V.Musatov, V.N.Toporov, R.D.Timenchik, A.K.Zholkovsky, T.V.Tsivyan, Yu.I. Levin). All these sources served as the theoretical basis for our study.

As for the correlation of generic principles in Akhmatova's lyrics - a question of no small importance in the case of the Akhmatova theme of the mother in connection with the form of its embodiment in the first person - both the first and later researchers of her work resolved this issue in different ways, in favor of predominance in them elements of epic, drama or lyrics. So, Yu.N. Tynyanov, V.V. Vinogradov, B.M. Eikhenbaum wrote about the short story, even closeness to the novel of Akhmatova's poems. Already in the article "Overcoming Symbolism" by V.M. Zhirmunsky, this feature of Akhmatova's lyrics is pointed out; Eichenbaum considered her poems to be small short stories, combined into one novel.6 The epic beginning is considered the main thing in the poetry of Akhmatova OA Kling, DM Magomedov. The last article “Annensky and Akhmatova (on the problem of romanization of lyrics)” about the early period of Akhmatova says that following the lessons of Annensky, Akhmatova took the path of transforming the “story in verse” into a lyrical whole and at the same time “romanization” lyric poem: "She generally abandons the "story in verse" with a detailed narrative plot, focusing on the development

5 Mandelstam O.E. "A letter about Russian poetry". / Poems, prose. M., 2002. P. 483.

6 see Eikhenbaum B.M. Anna Akhmatova. Analysis experience; Roman-lyric. Plantain. novelistic fragment. The fact that I. Annensky was still only an experiment, although extremely important and significant, with Akhmatova becomes the leading principle of her lyrics (I will make a reservation that we are talking, first of all, about early work until the early 1920s). But Akhmatova's "fragment" reveals a very remarkable regularity: as a rule, it is "snatched out", a special situation is chosen for the birth of a specified word - a response to someone else's remark or provoking someone else's response. V.V. Musatov, E.S. Dobin singled out dramatic collisions in Akhmatova’s poems, believing that her poetry gravitates towards drama, and not towards the novel. It is interesting that Dobin in the book "The Poetry of A. Akhmatova" (J1., 1968), in order to prove the dramatic beginning of Akhmatova's lyrics, relies on her frequent dialogical form, citing essentially the same examples as later Magomedova in support of her idea of ​​romanization genre of a poetic work and about the “specified” word. For these examples, Akhmatova’s frequent question-answer form is taken, such as famous lines“Why are you pale today? / Because I made him drunk with tart sadness,” and many similar ones characteristic of the early Akhmatova.

And yet, despite the fact that all these points of view are equally valid, with regard to the theme of the mother, it is more expedient to attribute Akhmatova's work to the sphere of lyrics. The lyrical nature of those poems where the image of the mother is expressed is confirmed by their inclination towards psychologism, subjectivity, reflection of the inner world and consciousness. In lyrics, psychologism is expressive: the subject of speech and the object of the image coincide. Undoubtedly, the world depicted by Akhmatova is always an inner, psychological world. At the same time, her poems are distinguished by monologism - a stylistic feature of the lyrics; the works are constructed as a lyrical monologue. In cases where Akhmatova uses the form

7 Akhmatova Readings. Issue 1. M., 1992. P. 138. dialogue, its "characters" are called upon to express different faces lyrical consciousness, therefore, the principle of monologism is preserved. The biographical context of Akhmatova's mother theme (that is, the fate of the son, the relationship with the son), in connection with which the question of the mother's theme most often arose in the works about Akhmatova, was restored from the memoirs of her contemporaries (L.K. Chukovskaya, E. Gershtein, the book " A. Akhmatova in the notes of Duvakin ”(M., 1999).

Literature on the work of A. Tvardovsky also appears in the early period of the poet's work and continues to be created to this day. The first notes about Tvardovsky appear in the late 1920s. One of the first articles belongs to A. Tarasenkov - "The struggle for simplicity: (On the work of A. Tvardovsky)", where he highlights main feature poet's work: "great artistic simplicity, which is one of the significant qualities of socialist realism"8. Noting the closeness of Tvardovsky to folk art, Tarasenkov separates him from the “pseudo-folk” poets: “Tvardovsky’s verse is as far as possible from the old painting of Klyuev, from Yesenin’s leaf beauty, from the pseudo-folk “peasant” simplicity of Klychkov’s verse. And at the same time, this is not the infantile simplicity of the holy fool Zabolotsky.”9 In the 1930s, the name of Tvardovsky was already mentioned in all literary reviews.

From the end of the 50s to the present day, books about the life and work of A. Tvardovsky appear. The last of them often have the character of "revelations" about the poet's life. For example, T. Snigireva in the book “A.T. Tvardovsky. The Poet and His Era ”pays most attention to Tvardovsky’s relations with his contemporaries, with the authorities, with his father, the poet’s editorial, social activities, as well as the personality and work of A.I. Solzhenitsyn, his relationship with

8 Young Guard. 1933, No. 11. P.133.

9 Ibid. P.137.

Tvardovsky. Since the end of the 80s, interest in the literary heritage of Tvardovsky has been weakening, and biographical aspects come to the fore. Articles of the period of the 90s are devoted to the life of the poet, the main of which are the conflicts of the era: relations with the authorities, a tragedy in the family. In the same period, a new layer of memoir literature about Tvardovsky appears, in which the “secret” pain of the poet, torn apart by the contradictions of the era, also comes to the fore. Of these memoirs, many were useful for our work as a biographical context for Tvardovsky's mother theme (despite their shortcomings in style, often bias and new social engagement). First of all, these are the memoirs of I.T. Tvardovsky "Motherland and Foreign Land" (Smolensk, 1996), containing the most complete information about the poet's family during the years of their separation.

From serious research recent years noteworthy is the work of R.M. Romanova “A. Tvardovsky. Works and Days. (M., 2006).

At the same time, from the end of the 1920s to the present day, only a few works from the entire volume of literature on the work of Tvardovsky partly relate to the image of the mother in his works. As a rule, the significance of this topic for the poet is noted in passing. It is considered in connection with real biography or in connection with some other poetic themes. For example, in the book by A. Makedonov “The creative path of L. Tvardovsky: Houses and roads” (M., 1981), “house” and road are, according to Makedonov, Tvardovsky’s “general thought”, these are key images through which, among other things, mother image. Tvardovsky’s Makedonov addresses the topic of motherhood, maternal love in the chapter “Origins and Beginnings. Early Tvardovsky", and in one of the chapters analyzes the poem "How slowly the gardeners work." from the cycle "In Memory of a Mother". Articles by K. Pakhareva “A. Tvardovsky’s cycle “In Memory of the Mother” as an artistic unity”10, I. Chernova

10 Q. Russian lit. Lvov, 1988. Issue 2.

The lyrical cycle of A.T. Tvardovsky "In Memory of the Mother"11. The image of the mother in its deep connection” with nature is analyzed by A. Belova: “Early Tvardovsky:

Images of nature and the image of the mother "

Despite such poor coverage of this topic in the bibliography, it is obvious that the motives of memory, native places (small homeland), filial duty and filial gratitude, which are most important for the poet, are combined precisely in the image of the mother, and this connection is a separate theme in his work.

Taking into account all previous experience on this topic in the science of literature, summarizing it and relying primarily on the poetic heritage of the authors of the 20th century themselves, we set ourselves the task of exploring as fully as possible such a phenomenon as the poetic theme of the mother as one of the most stable in Russian literature. poetry.

The theme of mother in the poetry of the 20th century can be divided, first of all, according to the types of relations of the subject of speech to the image of the mother:

When the theme of the mother is embodied as a special orientation, the appeal of poetry to the image of the mother;

When poetry is created, as it were, directly on behalf of the mother;

When poetry is created in which the image of the mother exists objectively, almost becoming a character.

Relatively speaking, these different ways of expression correspond to the forms of the grammatical second person - "you", the first person - "I" and the third person - "she". (Following the idea of ​​three literary genres and, of course, coarsening, we can say that in the first case, poetry carries a dramatic beginning (a combination of objectivity and subjectivity, second person), in the second case we are dealing with lyrics (subjectivity, first person), and the third case is an example of the epic principle in poetry). In addition, poetic

11 Literature at school. 2000, No. 4.

12 Language as creativity. Ros. AN Inst. Rus. M., 1996. the image of the mother, which has developed in the traditions of all Russian literature and has its genealogy from the beginning of Russian literature, comes from the three main hypostases of the original image of the mother: the Virgin, mother and motherland. In other words, the development of the theme of mother in the poetry of the 20th century followed the path of creating a religious and metaphysical image of the mother, manifested mainly through addressing him on behalf of a lyrical hero, a real-everyday or psychological image of the mother, expressed either on behalf of the mother, or epic, objectively. .

Let's say that each major poet XX century, one way or another addressed to the theme of the mother, embodied in his work all three of these varieties eternal image. However, with a detailed study, the following regularity becomes obvious: with respect to the above conditional scheme, the lyrical hero's appeal to his mother (the form of the second person "You") enhances, as a rule, the ideal features in the image of the mother (ascending to the image of the Mother of God); the expression of the theme of the mother in the first person gives directly real-everyday or psychological image mothers; As for the epic way of embodying the theme of the mother in poetry (the image of the mother in the form of a third person - “She”), here the contact between the theme of the mother and the theme of the motherland is most open and vivid. Thus, Blok's poetry, anticipating all subsequent development of the mother theme, all addressed to a certain Higher female image, is an example of the first type of embodiment of the mother theme in a deifying key. His image of the mother, which has just begun to separate from the female image, is most conditioned by the romantic tradition and the least concrete, incorporates both the image of the Mother of God and the image of the motherland, and in relation to the two following poetic names is, as it were, the fundamental principle in the development of the theme of the mother.

Akhmatova's work will belong to the second type in this classification system - with his image of the mother, expressed in the first person and most often having a realistic, psychological basis.

The third, epic type of development of the theme of the mother, is presented in Tvardovsky's poetry in the form of the image of the mother, perceived objectively and in close connection with the theme of the motherland.

The research material is very extensive, it covers poetic works that were created throughout almost the entire 20th century (excluding current poetry). Special attention devoted to the poetic work of three authors - these are Blok, Akhmatova, Tvardovsky.

The subject of study in this work - the embodiment of the theme and image of the mother in Russian poetry of the 20th century - has not yet become the object of a special study, which is the reason for the scientific novelty of this work. The work claims to at least partially fill this gap. Based on the fact that the theme of the mother has long history existence in Russian literature and is often associated with a complex of the most important topics and motives, it seems possible to separate it from the general picture of Russian poetry and consider it as a special literary phenomenon. Accordingly, the scientific novelty of the work lies in the fact that here for the first time the main ways of existence of the mother theme and the main varieties of the image of the mother in Russian poetry of the 20th century are collected, described and classified.

As for the terminological definition of the subject of research, we will focus on the concepts of "mother's theme" and "mother's image", although their nature is archetypal. The archetype in Jung's understanding cannot become the subject of our study, the boundaries of which are determined exclusively by the field of literature, therefore, we will consider the theme and image of the mother as the subject of study as they appear in poetry, while not forgetting that the theme of the mother is the so-called "eternal theme" and the image of the mother arose in literature at different periods of its development, as if passed on from generation to generation and remained unchanged in its basic features.

It should be borne in mind that the concepts of "theme" and "image", constantly used in this work, are separated by us as something initial non-material (theme) and a more material result (image), as something generalized-initial and its single, concrete incarnation. The emergence and development of the theme of the mother in the work often does not yet give the image of the mother. Therefore, by image we mean something close to a literary character, and we bring the theme closer to the concept of a “lyrical theme”, close to a musical one, uniting the main motives, thoughts, images. Lyrical theme differs from the theme of the epic and drama in being less connected with the plot, with subject matter, but with

13 this performs an organizing function in the work. The image of the mother here acts as a manifestation of the so-called " eternal theme", repeated in different times and appearing in various historical incarnations, focusing on different features of this image at different periods of its centuries-old development.

The dissertation research is devoted to a more detailed study of a phenomenon that is already known and has long existed in the literature. We see the relevance of this work in the fact that, as a result of the study, from disparate poetic works, united according to the thematic principle, a holistic picture of the development of the mother theme in Russian poetry is formed; distant poetic connections are discovered by bringing together poetic works different in style and time; the great importance of the theme of the mother for Russian literature is revealed almost throughout its development. Thus, a characteristic, recurring in time, particular feature turns the whole whole by that facet, which, until now, has remained in the shadows.

13 Brief literary encyclopedia. M., 1972. V.7. S.460-461.

Research method - historical and literary. The disclosure of such a topic will inevitably be conditioned by the peculiarities of the historical approach, which involves considering a literary phenomenon in the context of the general course of the literary process, among other literary phenomena, and establishing links between them.

The general direction of the work can be characterized as the identification and description of a separate synchronic theme, taken in a historical aspect, despite the fact that the area of ​​study of this topic in this work is limited to Russian poetry of the 20th century. The dissertation research is carried out in line with the generalization of the accumulated material, respectively, the work is of a collective nature.

The aim of the study is to trace, describe, characterize and classify the various ways of embodying the theme of the mother in Russian poetry throughout the 20th century, with special attention to the three main exponents of this theme in poetry - Blok, Akhmatova and Tvardovsky. This will allow us to recreate a general historical picture of the development of the theme of the mother. In addition to this generalizing result, we expect from the study to reveal the features and significance of the image of the mother in the artistic world of each of these authors.

The analysis of the poetic embodiment of the theme of the mother will be carried out at several levels:

On the biographical one, since the personal fate of the author - filial or maternal - left an imprint on the solution of the theme of the mother in poetry;

On the socio-historical, since the real historical time was reflected in poetry, influencing the development of the theme of the mother, and different historical periods gave different types of the image of the mother, highlighting one or another of its features;

At the level of connections with literary traditions and individual authors of the past;

At the level of poetics proper, since the individual-authorial features of poetics ultimately create one or another image of the mother in different authors.

Based on the goal, our tasks include:

Analysis of the poetic works of the 20th century from the point of view of revealing the theme of the mother in them;

Identification and description of the main different types of the image of the mother and the keys to the development of the theme of the mother in the poetry of the 20th century;

Detailed consideration creativity of A. Blok, A. Akhmatova and A. Tvardovsky in terms of the topic of the dissertation as the most typical examples of the three main varieties of the image of the mother in Russian poetry of the indicated period;

Description of the artistic means used to create this or that image of the mother in various cases.

Provisions for defense:

The theme of the mother, being inherent in Russian literature from the very beginning of its inception, consistently passes through all stages of its development and plays a prominent role in the poetry of the 20th century;

The image of the mother in Russian poetry is distinguished by the great stability of the emergence in various periods of the literary process throughout its entire length, as well as the great stability of a certain set of features, which makes it possible to distinguish the theme and image of the mother into a special category characteristic of Russian literature;

Of all the poetic heritage of the 20th century, the theme of the mother is most vividly and integrally revealed in the work of such three authors as A. Blok, A. Akhmatova and A. Tvardovsky;

Various images of the mother created by these authors go back to the three most important primordial components of the image of the mother that has developed in Russian culture - this is the Mother of God, mother and motherland, expressing the sublimely ideal, real everyday and generalized national aspects of the image of the mother;

The predominance of one or another aspect in the work is associated with the form of expression of the mother theme by each of the authors: as an appeal of the lyrical I to the mother, as a speech on behalf of the mother herself, and also detached, objectively, according to epic laws;

Various types the image of the mother and the form of expression of the theme of the mother dictate and the choice of various poetic means for their implementation.

The structure of the dissertation is as follows: Introduction characterizing the work as a whole and considering some of the works of predecessors regarding the research topic, four chapters, Conclusion and bibliographic list. The first chapter is an overview and is of a generalizing nature, exploring the history of the development of the image of the mother in Russian literature on the basis of Russian poetry from the stage of pre-individual creativity to the present day. This excursion into the history of literature should become a prehistory to the main part of the work, as well as contribute to a better understanding and appreciation of the theme of the mother, which has developed in the poetry of the 20th century.

Chapter two is devoted to the study of the theme of the mother in the poetry of A. Blok. Despite the fact that his poetry only approaches the theme of the mother and does not create an obvious, objective image of the mother, Blok, nevertheless, can be called the main representative of the poetic theme of the mother in the 20th century. In Blok, we highlight the theme of the mother in connection with the real-biographical relationship of the poet with his mother - in poems dedicated to her; further, in chronological development, we will consider the path of the poet from a series of changing female images to the image of the motherland.

In the third chapter, we consider the work of A. Akhmatova and the image of the mother, equal to her lyrical heroine, expressed in the first person, through the speech of the mother. In Akhmatova's poetry, we find three different images of the mother, expressed in the first person, corresponding to three different periods of her creative path.

The fourth chapter presents an analysis of the theme of the mother in the work of A. Tvardovsky as an example of an objective, epic embodiment of the image of the mother. His theme of the mother, which has passed through all his work, we will consider in a consistent step-by-step development.

The Conclusion summarizes the main results of the work done.

Dissertation conclusion on the topic "Russian literature", Meleksetyan, Marina Valerievna

Conclusion

In accordance with the stated purpose of the study, we examined, described and tried to classify, if possible, all existing ways of embodying the theme of the mother in Russian poetry of the 20th century.

Summing up all of the above, we can first of all single out the theme of the mother as a special literary phenomenon, originally characteristic of Russian poetry, which has gone through all stages of the history of literature in its development and occupies a significant place in ancient, classical and modern poetry. The study confirmed a high degree the stability of the manifestations of the theme and the image of the mother over a long period of time, as well as the extreme stability of the essential features of the image of the mother in different periods and by different authors.

As a result of the analysis, we highlight the following features inherent in Russian poetic image mother: this is, first of all, his increased connection with the non-literary context - the historical, socio-cultural, biographical background of each of the authors. It also has a high philosophical, ideological and moral, ideological load. Through the image of the mother in Russian poetry, one of the main worldview issues has traditionally been expressed. It should also be noted its stable traditional continuity throughout the development of Russian literature. The study revealed a connection between the "nodal" points in the development of the mother's theme in poetry (see Appendix, Table 1) - both between individual names (the inheritance of the Nekrasov line of development of the mother's theme is especially obvious), and entire periods and trends. The poetic embodiment of the image of the mother is also associated with certain intra-poetic, stylistic features. Based on the examples works of art centuries-old range, we can conclude that the image of the mother appears in them, as a rule, in connection with a bias towards realism, prose, an epic way of depicting reality. Starting from the Lermontov, Nekrasov path, the heritage of folk art acquires special significance in the development of the theme of the mother. In the 20th century, the theme of the mother gradually remained in the sphere of traditional poetic forms, conscious impoverishment of artistic means and the desire for simplicity. Now, judging by the literature of our days, we can say that the image of the mother arises and returns almost exclusively in line with the so-called democratic offshoot of literature, inheriting the traditions of folk art and Nekrasov. The study also confirmed the justification for choosing the three main figures in the poetry of the 20th century from the point of view of the most integral and consistent embodiment of the image of the mother - these are A. Blok, A. Akhmatova, A. Tvardovsky. In connection with the tasks set, we examined in detail the work of Blok, Akhmatova and Tvardovsky in terms of the topic of the dissertation as the most typical examples main varieties of the image of the mother in Russian poetry of the XX century.

We divided the ways of embodying the theme of the mother according to the types of relations of the subject of speech to the image of the mother, when the theme of the mother is embodied as a special orientation, the appeal of poetry to the image of the mother, when poetry is created directly on behalf of the mother and when poetry is created in which the image of the mother exists objectively, becomes a character . We illustrated this position with the poetic material of Blok, Akhmatova and Tvardovsky, respectively.

In addition, we have confirmed the position that the lyrical hero's appeal to his mother (the form of the second person "You") enhances, as a rule, the ideal features in the image of the mother (ascending to the image of the Mother of God); the expression of the theme of the mother in the first person gives a direct real-everyday or psychological image of the mother; the epic way of embodying the theme of the mother in poetry (the image of the mother in the form of a third person - “She”) more often than others correlates the theme of the mother with the theme of the homeland (this image of the mother goes back to the ancient image of mother earth, soil).

We were convinced that in its development in poetry, the theme of the mother was based on the image of a person’s personal, own mother, while having a tendency to rise and expand the particular to the universal. In the poetry of the 20th century, the image of the motherland gradually becomes the highest aspect of the image of the mother. Blok, associated at the beginning of the century with the search for the ideal feminine principle and uplifting in his work female image to the divine, ultimately through the decline (even fall), concretization and prosaicization of the female image and all his poetic manner, he comes to the image of the mother in the meaning of the homeland ("On the Kulikovo Field", "Kite"). It was Blok who combined the sublimely romantic female image with Nekrasov's deification of the mother - in the final image of his path - the image of the motherland.

Akhmatova's image of the mother, equal to her lyrical heroine, has gone from social and everyday in early work, socio-historical in the period of "Requiem" (with allusions to the image of the Mother of God) to the image of the universal motherland during the Great Patriotic War, on behalf of which she refers to "kids".

The work of Tvardovsky fully confirms the gradual transition in the poetry of the 20th century to the elevation of the image of the motherland as an aspect of the image of the mother: the female image as an object love lyrics he does not have it at all, but at the same time, the image of the mother from the earliest poems to the end is connected with the memory of his native places, and during the war he was raised to the height of the image of the motherland. In general, the study solves the problem of determining the ways of development and identifying the features of the image of the mother. For the first time, an attempt was made to summarize the available material on the theme of the mother in Russian poetry and to classify the ways of embodying the theme and image of the mother in poetry. As a result, here is a picture of the gradual development of the theme and the image of the mother as the most stable and organically inherent in Russian poetry.

The theoretical significance of the dissertation research lies in the fact that it makes some contribution to the development of the history of literature, considering one of the most relevant and inherent images in Russian poetry. The main provisions of the dissertation are reflected in the following articles: Meleksetyan M.V. The history of development and the meaning of the image of the mother in Russian poetry.// Vestnik MGOU, series "Russian Philology". year 2009. No. 2. pp.207-211. Meleksetyan M.V. Last poem A. Tvardovsky about mother.// Literature at school. year 2009. No. 10. P.45.

Meleksetyan M.V. The image of the mother in the poetry of A. Tvardovsky.// Bulletin of the Literary Institute. A.M. Gorky. year 2009. No. 1. S. 159 - 183.

The practical value is the possibility of using the results of this study in various courses in the humanities.

Please note that the scientific texts presented above are posted for review and obtained through recognition original texts dissertations (OCR). In this connection, they may contain errors associated with the imperfection of recognition algorithms. There are no such errors in the PDF files of dissertations and abstracts that we deliver.

Literary Lounge

The image of the mother in Russian culture: music, painting, literature.

Presenter 1. (Churkina V.) Sirs and ladies! Ladies and Gentlemen! We welcome you to the opening of the literary drawing room of school No. 73.

Beginning in the 1920s, Russian culture experienced an extraordinary upsurge. Salon culture has acquired a special flourishing. Among the nobles were the most educated people, owners of extensive libraries, subtle connoisseurs of world philosophical thought, literary and musical creativity. Aristocrats gathered their own kind around them.

Moscow Governor-General, Prince Dmitry Vladimirovich Golitsyn organized a cultural salon, which was a great success. One of the poets of the Pushkin circle even lamented:“Well, why is it so boring at our gatherings, but at Golitsyn’s it’s so much fun? ..”

P. A. Vyazemsky calls the ability to keep a salon “art”. This elegant and thin shape public life teetered on the edge of seriousness and entertainment, private and public. Here everyone was supposed to feel at ease, but not go beyond the limits of secular decency. The hostesses of the salons were usually women, since it was women who could create a cozy, relaxed atmosphere of the salon.

Lead 2. (Kolesnichenko A.) Today our literary drawing room is devoted to the theme "The image of the mother in Russian culture."We invite you to participate in a creative laboratory to create the image of a modern mother. Before you is an easel with whatman paper, pencils, paints, felt-tip pens, markers and your imagination. In the course of the action, you can approach the easel and make your own sketches.

Lead 1. With respect and gratitude, we look at a person who reverently pronounces the name of his mother to gray hair and respectfully protects her old age; and with contempt we will execute the one who, in her bitter senile time, turned away from her, refused a good memory, a piece or shelter.

Lead 2. Born late or early
At least for this world,
To say for the first time the word "MAMA",

Which is not sacred in the world.

We decided to take these words as an epigraph to our evening dedicated to the dearest person on Earth - MOTHER!

The song “Mom is the first word” sounds (from the movie “Mom”)

Lead 1. In the languages ​​of the world, the sequences of sounds ma, mama and the like in many, often completely unrelated languages ​​correspond to the word “mother”.

Rasul Gamzatov (Kirichenko V.)

And in Avar - affectionately "woman".
From a thousand words of earth and ocean
This one has a special destiny.

Becoming the first word of the year, our lullaby,
It sometimes entered the smoky circle
And on the lips of a soldier at the hour of death
The last call was suddenly.

Shadows do not fall on this word,
And in silence, probably because
Words are different, kneeling
They want to confess to him.

A spring, having rendered a service to a jug,
This word babbles because
What remembers the mountain peak -
She passed for his mother.

And the lightning will cut through the cloud again
And I will hear, following the rain,
Like, soaking into the ground, this word
Calling raindrops.

I will secretly sigh, grieving about something,
And, hiding a tear in the clear light of day:
"Don't worry," I tell my mother,
Everything is fine, my dear, with me."

Worries about her son all the time
Holy love great slave.
In Russian "mama", in Georgian "nana",
And in Avar - affectionately "woman".

Lead 2. Mother in many world cultures is a symbol of life, holiness, eternity, warmth and love.At all times it was glorified and sung by artists, poets, musicians. She was a dream, a smile, a joy...

Lead 1.

There is a holy and prophetic sign in nature,

Brightly marked for centuries!

The most beautiful of women

A woman with a child in her arms.

(Sokolov Maxim.) The famous philosopher and theologian Sergius Bulgakov said the following about the famous painting by Raphael “The Sistine Madonna”: “... here the beauty is wondrous, but human beauty, a beautiful young woman, full of charm, beauty and wisdom, is coming with a firm step with a baby in her arms ... Femininity, motherhood are beautiful . About this beauty of the Renaissance (the Renaissance) it cannot be said that she could “save the world”, because she herself needs to be saved ... "

(Nechaeva Daria) What a blessing it is to have your mom by your side. How nice it is when you can turn to her for advice, with any joy or misfortune. No wonder the people live a lot of good, kind words about the mother. They are passed down from generation to generation. Let's, guys, remember the proverbs about the mother.

1. The bird is happy for spring, and the baby is happy for its mother.

2. There is no sweeter friend than your own mother.

3. When the sun is warm, when the mother is good.

4. In the mother's heart, there is enough affection for all children.

(Filonov Alexander) The reverent veneration of the Most Holy Theotokos originates from the very first Christians, who also learned to love and honor the Most Pure Mother of Christ, Whom He Himself indicated as their Intercessor and Patron, when from the Cross He adopted all Christians to Her in the person of the holy Apostle John the Theologian.

(Silko Dmitry) The recognition and veneration of the Mother of God in Russia is a special phenomenon, it is an image incredibly dear to every Orthodox. “Mother Protector!” - we say, calling to Her. We call her Gracious, Gracious, Joy of All Who Sorrow, Quick to Hearing, Joy and Consolation. We turn to Her the most, probably, sincere and touching prayer:Mother of God, Virgin, rejoice, Blessed Mary, the Lord is with you ... "

(Ilyicheva Ekaterina) And this is not surprising, because there was not and is not in Russia a name more reverently pronounced, loved and glorified after the Lord, than the Blessed Virgin.Therefore, Russian poets and writers could not but turn in their work to the image of the Mother of God, not sing the One Who is “the most honest Cherubim and the most glorious Seraphim without comparison.”

(Ermashova Liana ) In addition, there is a great relationship between true poetry and prayer. Perhaps poetry in general was once born a very long time ago from the words of a prayer, because rhymed lines, clothed in images and honed in beautiful forms, soar and ascend to the transcendent, just like the simple unsophisticated words of prayer, with which loving soul calls to God and the Blessed Virgin.

(Borodkin Valery) Poetry is a quiet miracle arising in the depths true poet and true reader. What do we read and hear, understand and accept from Afanasy Fet?

A. Fet

Ave, Maria - the lamp is quiet,

Four verses are ready in the heart:

Pure maiden, grieving mother,

Your grace has penetrated my soul.

Queen of the sky, not in the brilliance of rays

In a quiet dream come to her!

Ave, Maria - the lamp is quiet,

I whispered all four verses.

Presentation Ave Maria! (to the music of Schubert Ave, Maria!)

Lead 2. The talents of several generations of Russian poets, writers, writers, composers, historians, artists were forged in aristocratic salons: Batyushkov, Gnedich, Krylov, Gogol, Zhukovsky, Karamzin, Lermontov, Turgenev, Nekrasov, Belinsky, Tolstoy, Tyutchev, Glinka, Bryullov, Kiprensky.

Lead 1. The image of a mother in Russian poetry acquired the captivating features of a hearth keeper, a hard-working and faithful wife, a protector of her own children and an unfailing guardian for all the destitute, offended and offended. These qualities of the mother's soul are displayed and sung in Russian folk tales and folk songs. This was not ignored by Russian poets as the successors of the traditions of Russian culture.

Lead 2 .Through Yesenin's work, a bright image of the poet's mother passes, growing into a fabulous image of a Russian woman who gave the poet the whole world.

Sergey Yesenin

MOTHER'S LETTER

Are you still alive, my old lady?
I'm alive too. Hello you, hello!
Let it flow over your hut
That evening unspeakable light.

They write to me that you, melting anxiety,
She was very sad about me,
What do you often go to the road
In an old-fashioned ramshackle.

And you in the evening blue darkness
We often see the same thing:
Like someone is in a tavern fight for me
He put a Finnish knife under the heart.

Nothing, dear! Take it easy.
It's just painful bullshit.
I'm not such a bitter drunkard,
To die without seeing you.

I'm still just as gentle
And I only dream about
So that rather from rebellious longing
Return to our low house.

I'll be back when the branches spread
In spring, our white garden.
Only you me already at dawn
Don't wake up like eight years ago.

Don't wake up what you dreamed
Don't worry about what didn't come true -
Too early loss and fatigue
I have experienced in my life.

And don't teach me to pray. No need!
There is no return to the old.
You are my only help and joy,
You are my only inexpressible light.

So forget your worries
Don't be so sad about me.
Don't go to the road so often
In an old-fashioned ramshackle.

The song "Mom is an expensive word" sounds.

Lead 1. Mother ... The dearest and closest person. She gave us life, gave us a happy childhood. A mother's heart, eyes, a smile like the sun, shines always and everywhere, warming us with its warmth. She is our best friend, a wise adviser. Mother is our guardian angel. From infancy, we remember the most gentle, kindest hands of mother.

A.A. Fadeev An excerpt from the novel "The Young Guard" (Matrosov E.)

Mother Mother! I remember your hands from the moment I became aware of myself in the world. During the summer, they were always covered with a tan, he no longer departed in the winter, he was so gentle, even, only a little bit darker on the veins. Or maybe they were even rougher, your hands, because they had so much work in life, but they always seemed so tender to me, and I loved kissing them right on the dark veins.

From the very moment when I became aware of myself, and until the last minute, when you quietly laid your head on my chest for the last time, seeing me off on the difficult path of life, I always remember your hands at work. I remember how they scurried about in soapy suds, washing my sheets, I remember how you, in a sheepskin coat, in winter, carried buckets, putting a small mittened hand on the yoke in front, yourself as small and fluffy as a mitten. I see your fingers with slightly thickened joints on the primer, and I repeat after you: "Be-a-ba, ba-ba."

I remember your hands, red from the cold water in the hole where you rinsed your clothes, I remember how your hands could imperceptibly take a splinter out of your finger and how they instantly threaded a needle when you sewed and sang. Because there is nothing in the world that your hands cannot do, that they cannot do!

But most of all, for all eternity, I remember how gently they stroked, your hands, slightly rough and so warm and cool, how they stroked my hair, and neck, and chest, when I lay half-conscious in bed. And, whenever I opened my eyes, you were always near me, and the night-light burned in the room, and you looked at me with your sunken eyes, as if from darkness, you yourself were all quiet and bright, as if in robes. I kiss your clean, holy hands!

Look back, my friend, and tell me, whom did you offend in life more than your mother, is it not from me, not from you, not from him, is it not from our failures, mistakes and is it not from our grief that our mothers turn gray? But the hour will come when all this at the mother's grave will turn into a painful reproach to the heart.

Mom, mom! .. Forgive me, because you are the only one, only you in the world can forgive, put your hands on your head, as in childhood, and forgive ...

Lead 2. Maternal love warms us to old age, it inspires us, gives strength, how to thank our mothersfor their sleepless nights, unshed tears, sorrows and pain, which we voluntarily or involuntarily caused them. Nothing can measure a mother's love. Low bow to you, our dear mothers! In honor of you, 10th grade students will perform the dance "Waltz of the Flowers".

Dance. The music of P.I. Tchaikovsky "Waltz of the Flowers" ("The Nutcracker")

Lead 1. How often do mothers hear from us words of gratitude, declarations of love? Unfortunately no. Although, that we should approach our mother, hug and kiss her, ask her how the day went, find out about her well-being, just snuggle up to her.

"Honor your father and your mother, may it be good for you, may you live long on earth" - so says God's commandment. This commandment calls us to take care of our mothers.

Rasul Gamzatov PROTECT YOUR MOTHER! (Shmul O.)
I sing of what is eternally new.
And although I don’t sing a hymn at all,
But in the soul the word born
Gets his own music.

And, not obeying my will,
Rushing to the stars, expanding around ...
Music of joy and pain
It thunders - the orchestra of my soul.

But when I say, as for the first time,
This is the Word-Wonder, the Word-Light, -
Get up people!
Fallen, alive!
Arise, children of our stormy years!

Arise, pines of the age-old forest!
Arise, straighten up, grass stalks!
Arise, all flowers!.. And rise, mountains,
Lifting the sky on your shoulders!

Everyone stand up and listen standing up
Preserved in all its glory
This word is ancient, holy!
Straighten up! Get up!.. Get up everyone!
As forests rise with a new dawn,
Like blades of grass rushing up to the sun,
Stand up everyone, having heard this word,
Because this word is life.

This word is a call and a spell,
In this word - the existing soul.
This is the first spark of consciousness,
Baby's first smile.

Let this word always be
And, breaking through any traffic jam,
Even in the heart of stone will awaken
Silenced conscience reproach.

This word will never deceive,
There is a life being hidden in it.
It is the source of everything. He has no end.
Get up! .. I pronounce it: “Mum !»

Lead 2. Each of us has his own mother, everyone's mothers are different: blue-eyed and green-eyed, blondes and brunettes, tall and small. But for us they are the closest and dearest. We want to present you a presentation of our drawings, in which we depicted our mothers.

Presentation from student drawings to the music of Ave, Maria G. Caccini

Lead 1. And here is what our mother of 2017 turned out to be!

Lead 2. Sirs and ladies! Ladies and Gentlemen! We thank you for Active participation in our literary parlour. The next topic of our literary drawing room will be dedicated to the Great Victory. We also invite you to take part in the creation of drawings, poems, stories on this topic.