In the period from 1927 to 1948, Shmelev created this novel. "Summer of the Lord" summary which we will consider - one of the most famous works this writer. It was first published in full version in 1948 in Paris. Shmelev dedicated his novel to I. A. Ilyin and Natalya, his wife. "Summer of the Lord", a summary of which we will describe - autobiographical work. Through the eyes of a simple boy, it describes life in a merchant's patriarchal family. Shmelev's father's name was Sergei Ivanovich, just like Vanya's father from the novel "Summer of the Lord". The content of the main events of the work is also autobiographical. It is known that the pious old man Gorkin, a former carpenter, was the tutor of Ivan Shmelev. The hero with the same surname and in the same role is presented in the novel.
We now turn to a summary of the work. The novel "The Summer of the Lord" begins as follows.
Clean Monday
In the Zamoskvoretsky house, father's the main character, the boy Vanya wakes up. Everything is ready for Lent, and it begins. The boy hears how Vasil Vasilich, the senior clerk, is scolded by his father. The fact is that his people arranged a farewell to Maslenitsa yesterday. They got drunk and rolled people down the hills, while almost mutilating the audience. Sergei Ivanovich, Vanya's father, is known to many in Moscow. He is a contractor, energetic and kind owner. Father forgives Vasil Vasilich after dinner.
When evening comes, Vanya goes to church with Gorkin. This is where the Lenten services begin. The boy's companion, Gorkin, used to work as a carpenter. He is already old, so he stopped working. This person is now just taking care of Vanya, living "at home".
Annunciation
Spring morning. The boy looks out the window. He sees the cellars being filled with ice. Then Vanya goes with Gorkin for supplies to the Lenten Market. The Annunciation is coming. Everyone on this day should certainly please someone. The boy's father decides to forgive Denis, who drank the proceeds of the owners. Solodovkin, the songbird merchant, arrives. As usual, everyone releases them together. In the evening they learn that the father's barges were "cut off" because of the ice drift. However, the father, along with his assistants, catches them.
Easter
Next, we will talk about the events that took place on Easter, we will describe their summary. "The summer of the Lord" continues with the fact that in the parish church the boy's father arranges an illumination. It also happens in the Kremlin. The festive dinner begins. The owners eat in the yard with the workers. New workers come to hire after the holidays. The Iberian Icon of the Mother of God is brought into the house in order to pray to her before starting work.
Vanya, together with Gorkin, goes to the Trinity for birch trees on the Sparrow Hills. Then he goes to get flowers with his father. The church, decorated with greenery and flowers, turns into a real "sacred garden" on the day of the holiday.
Apple Spas
Here is already approaching - Transfiguration. Picking apples in the garden. Then Gorkin and Vanya go to the merchant Krapivkin in the Swamp to sell them. A lot of apples are needed: for oneself, for the parable, for workers, for parishioners.
Christmas
Snowy frosty winter. Christmas is coming. In order to "praise Christ", a shoemaker appears in the house along with the boys. They play a little performance about King Herod. Then the beggars come and are served in honor of the holiday. As always, a dinner is arranged for all the poor. Vanya is always interested in watching various outlandish people.
Christmas time
Here we have already reached the time of Christmas time, describing the summary. "Summer of the Lord", as you probably already noticed, is based on events related to Orthodox holidays. During Christmas time, the boy's parents went to the theater, and he himself goes to the people in the kitchen. Gorkin invites Vanya to tell fortunes, using each one to read the saying that fell to him. True, Gorkin himself chooses these sayings, taking advantage of the fact that others do not know how to read and write. Only Vanya reveals his cunning. Gorkin is driven in this by the desire to read the most instructive and suitable for each person.
Baptism
In the Moscow River, water is blessed at Epiphany. At this time, many decide to swim in the hole, including Gorkin. Vasil Vasilich competes with the German Ledovik. They argue about who will be able to stay in the water the longest. Both are cunning: Vasil Vasilich rubs goose fat, and the German - pork. The soldier competes with them, and honestly, without resorting to tricks. As a result, Vasil Vasilich becomes the winner. And the father takes this soldier as a watchman.
Maslenitsa
Further, the celebration of Maslenitsa describes ("Summer of the Lord"). A summary of the events associated with it is as follows. Workers are taken to bake pancakes. The bishop arrives. Chef Garanka is invited to prepare treats for the holiday. On Saturday, everyone rides from the mountains, and the next day they ask forgiveness from each other before Lent. All this is described in detail by Shmelev ("Summer of the Lord"). The content of further events also needs to be briefly highlighted.
Vanya, together with Gorkin, goes to "put things in order" at the icebreaker. The fact is that Vasil Vasilich drinks all the time, and the ice must be delivered to the customer in time. Unexpectedly, it turns out that day laborers do just fine with this task without it. Vasil Vasilich fell in love with these people very much. Every day he gives them beer.
petrovsky post
The summer seamstress Glasha begins, the maid Masha, Vanya and Gorkin go to the Moscow River. Here, at the port, lives one guy, Denis. He fell in love with Masha and wants to marry her. Denis asks Gorkin to talk to the girl.
Feast of the Don Icon
Solemn procession takes place on the feast of the Don Icon. It is about him that is described further in the work "The Summer of the Lord." The summary of the chapters only outlines the events in general terms, so we will not dwell on the details. Of all the churches in Moscow, banners are carried. The time of the Veil will come soon. In Vanya's house, cucumbers are salted, Antonovka is wetted, and cabbage is chopped. Masha and Denis exchange barbs. Katyusha, Vanya's sister, is born on the very holiday. And Masha and Denis finally get married.
Name day of Sergei Ivanovich and Gorkin
A surprise is being prepared for Sergei Ivanovich. The workers want to give him a huge pretzel on his name day, on which is written: "To the good owner." In violation of all the rules, Vasil Vasilich arranges church bells when this pretzel is brought. Birthdays are going great. Sergey Ivanovich accepts many congratulations. Pies are brought from all over Moscow. The bishop himself arrives at the house. Vasil Vasilich cries when he receives a blessing from him.
Coming Now, Ivan Shmelev ("Summer of the Lord") tells us about the celebration of Gorkin's name day. Everyone loves Gorkin too. Vanya's father favors him with rich gifts.
Christmas and Lent
Preparations for the Christmas Lent begin. Pelageya Ivanovna arrives, her father's aunt. She seems to be "hot". In the jokes of this woman, predictions lurk. Here comes Christmas. The father begins to build an "ice house" in the Zoological Garden. Andryushka the carpenter and Denis tell him how to do it. It turns out just wonderful. Father is glorified throughout Moscow. Although, of course, no profit can be expected from this enterprise. Vanya congratulates the "proud rich man", godfather Kashin, on the day of the angel.
The boy, together with Gorkin, goes to Vanya for the first time. There are many bad omens in the house this year. Gorkin and his father see ominous dreams. They dream about how the "snake color" blooms - a terrible flower.
Palm Sunday, Easter
Palm Sunday is approaching. Coal miners bring willow from the forest. Easter. Grishka the janitor, who missed the service in the church, is doused ice water. Vanya and Gorkin go to the Kremlin during Holy Week. They go to cathedrals here.
Egoriev's day
Yegoriev's day is coming. The boy listens to the songs that the shepherds sing. Again, bad omens: the starlings did not arrive, the dog Bushui howls, the furrier was given a blasphemous picture instead of a saint.
Accident with Sergei Ivanovich
Here is the Radunitsa - the commemoration of the dead on Easter. Vanya and Gorkin go to cemeteries. Having stopped at the tavern on the way back, they learn the terrible news: Vanya's father was "killed by a horse." However, Sergei Ivanovich remains alive. But since then he has been sick all the time. Sergei Ivanovich broke his head when he fell from a restive horse. After a while he feels better. Vanya's father goes to the bathhouse. After that, he does feel healthy. Sergei Ivanovich goes to Vorobyovka to admire Moscow. He again takes to go to construction sites. However, the disease returns.
Further describes the prayer Ivan Shmelev ("Summer of the Lord"). They bring it into the house. For a short time, the patient gets better. Doctors say there is no hope. In parting, Sergei Ivanovich blesses the children. It is clear to everyone that he will soon die. Sergei Ivanovich is unction.
Father's birthday, funeral
Now the work itself and its summary are coming to an end. "Summer of the Lord" continues with a description of his father's name day. Again pies and congratulations come from everywhere. However, these gifts seem to be a mockery to the family of the dying man. The priest appears in order to read the waste. The boy falls asleep. Vanya has a happy dream. The next morning, he learns that Sergei Ivanovich has died. Vanya becomes ill at his coffin. The boy gets sick. He is not able to go to the funeral and only watches the removal of the coffin through the window.
This concludes the summary. "The Summer of the Lord" is a work worth reading in the original. From it you can learn about the customs and traditions of our country, about its Orthodox culture.
Before delving into the content of the book and the impression it made on me, a rather selective reader, it is worth referring to the biography of the author, whose influence can be traced throughout the novel. In the history of the writer's life, we will be most interested in childhood (regarding the novel "The Summer of the Lord").
"Summer of the Lord" 1: Holidays
"Summer of the Lord" 2: Joys
Summer of the Lord 3: Sorrows
Read by Ekaterina Krasnobaeva
Ivan Shmelev: biography briefly
The writer was born on October 3, 1873 in Moscow into a patriarchal religious family. My father was a well-known contractor, and builders from all over Russia flocked to the Shmelevs' yard. The boy was soaking folk culture, customs, language, songs, jokes, sayings - everything that will later change and play in the unique "Shmelev" prose. “We are from the merchant peasants,” Shmelev said about himself, “the native Muscovites of the old faith.”
Ivan Shmelev received his primary education at home, under the guidance of his mother, who paid special attention to literature and, in particular, the study of Russian classics. Then he entered the sixth Moscow gymnasium, after which he became a student in 1894. Faculty of Law Moscow University. In 1898 he graduated from the university and served in the army for a year. Then for eight years he served as an official for special assignments Vladimirskaya Treasury Chamber Ministry of the Interior; The Shmelevs then lived in Vladimir on Tsaritsynskaya Street (now Gagarin Street).
The writer did not accept both revolutions (February and October), although he initially tried to accept them. But it became obvious to him that his worldview came into conflict with the morality of modern times. The moral conflict was followed by a physical confrontation between the writer and the authorities: his son was shot, he himself was also in danger. Then he decides to emigrate. Abroad, he often publishes, works in an émigré newspaper, but this hardly saved him from poverty. His old age was overshadowed serious illness and poverty. Shmelev died in 1950 from a heart attack, was buried in the Parisian cemetery of Sainte-Genevieve-des-Bois.
Shmelev's artistic style
From the first phrases, the language of Ivan Shmelev riveted my attention: it is a simple, pure folk style, I have not seen this in other books. So spoke either the popular Russian thickness, or the intelligentsia that came out of the people, now with small, then big irregularities and “distortions”, which are completely untranslatable into another language, but which in Russian are so smoothly rounded, so juicy, so “desirable” in popular pronunciation . The writer plays with letters like a puzzle, collecting completely impossible forms from it, which miraculously radiate light and reveal the secrets of the Russian soul.
Composition in the novel "Summer of the Lord"
The Summer of the Lord is a novel without a plot, in the form in which we are accustomed to seeing it. This is not a work during which the development of the action takes place with familiar heroes, there is also no structure familiar to us here. In the novel, Shmelev implemented the principle of ring composition: it consists of forty-one essay chapters, each of which can be considered as individual work, since they are self-contained. In the center of this closed universe is the boy Vanya, on behalf of whom the story is being told.
What is the novel "Summer of the Lord" about: essence and meaning
The life of the family, which is described in the novel and through which the author shows us the image of Rus', is distinguished by a kind of Old Believer democracy. The owners and workers fasted together, observed rituals together, went on pilgrimage, lived not only side by side, but also together. And this is the absence of duality, the unity of spiritual principles and real image life had a beneficial effect on the formation moral peace boy.
As you read this novel, you become immersed in wonderful world old pre-revolutionary Moscow of the 1880s, in which there is a place for fairs, festivities, fasting markets and all Christian holidays, which Shmelev describes so brightly, juicy and warmly that even after reading the book this light remains in the heart, quite possibly forever.
Our guide to the past is a little boy Vanya, as you understand, is our author in childhood. Most likely, the writer did not just decide to show us Moscow through the eyes of a child, this is Shmelev’s desire not only to keep the family tree on paper, as he himself said: “We are alive as long as we are remembered,” but also a desire close to religious, the desire to dip reader in christian religion, to show everything exactly in those colors and with exactly those emotions that only a child can experience: inspiration, joy, purity of thoughts.
The image of the father rises before the eyes of the child, as a model perfect man, which Vanya wants to match. Sergei Ivanovich is always young, handsome, knows how to wear secular clothes, is extremely hard-working, complaisant, he has a kind heart that understands everything. He teaches his son to be a man in the full sense of the word: “... Don't spit on a man. He was created in the image and likeness of God. So you spit on him." Even a puddle near the house is surrounded by kindness: “... well, where are you going to get her, rogue! For a long time she lives here ... Who knows her ... maybe she is so fitted to the court. - it would seem that the situation is normal, there is a puddle near the house, and the little boy wanted to spit in it for fun, but the father, drawing a parallel between the puddle and the will of the Lord, teaches his son.
The whole book is filled with light that comes from the heart of the author. Shmelev managed, without imposing his religious point of view, to let me into a world where God's all-consuming love for people reigns, and where church holidays are not just calendar dates, these are dates marked in people's hearts, these are the days when people are completely sincere , selflessly attached to joy, sorrow, fun - the whole range of emotions that a person is capable of. I am an atheist and specifically chose this novel to write a review in order to improve my knowledge in the field of religion and finally read the smallest part (although this novel is, according to critics, Shmelev's strongest) of the works left by the writer. If we draw a parallel "expectations - reality", then the emotions that I experienced throughout the novel and at the end of reading, they do not coincide with those that I expected to receive. Opening the first page, I could not tear myself away from reading, because the author describes in detail the situation, thoughts, feelings of the hero, even how he reproduces speech on paper - all this envelops the atmosphere of “homeliness”, from which you don’t want to leave, you want to go on along the streets with Gorkin and Vanya, ride an old horse Kriva and look at the world through the eyes of a child. It's amazing how Shmelev accurately conveyed the world in which the boy is, because children feel everything differently, on short term 444 pages long, I saw the world with different eyes, the colors became brighter, my mood is better, my character is softer, my heart is kinder. The only fly in the ointment in all this honey was for me the composition of the novel, as I said already, it is circular, each chapter is a separate essay. It is difficult to read, after each chapter you have to jump in time and try to keep in mind the order of the chapters so as not to get confused in church holidays and the events of Vanya's life, which were both good and bad, which is very vital. Despite the fact that the novel ends with the funeral of the father of the protagonist, and before that Shmelev described in some detail the processes of suspension of the life of the body / departure of the soul to heaven, this event does not overshadow the impression of the read, on the contrary, like all chapters, the last one is the most instructive. At the end of the novel, the author showed us the other side of his talent - the ability to describe the terrible in the same simple words as he described the joys and incidents from his childhood.
Who is the book for? Is it worth reading?
If I were asked to whom this book should be recommended, I would without a hitch say that to everyone. Now I'm arguing. The book is designed for any age, it will be interesting to read both adults, to whom it will be a delight for the heart, and children, to whom it will teach life lessons in an unobtrusive manner and teach what modern cartoons do not teach. Also, the book will interest people of different faiths, it does not impose Christianity, there is no persecution of other faiths, it does not, as many fear, complex vocabulary and monotonous lectures. But, it seems to me, you need to grow up to this book, you need to come to it, because it does not belong to the category of books for entertainment, books, after reading which you can brag to your friends about your knowledge in the field of literature. This novel is for the soul, it is able to heal wounds, change the outlook on the world, make you enjoy the most ordinary things. I have read many books, enough to say that this novel sheds light on the soul of the one who reads it, another creation that acts in a similar way I have yet to meet!
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"Summer of the Lord"
The problem of the novel.main topic novel "Summer of the Lord" - the theme of historical and tribal memory. Shmelev believed that the world would be unshakable as long as people remember the past and build the present according to its laws. This makes the world spiritualized, "deified", and therefore meaningful. Observance of the ancient order helps a person to be moral. With this understanding, daily activities turn into a rite full of meaning. Through the everyday manifestation of life, the child’s soul comprehends God: “I feel in this great mystery- God "(" Pure Monday ").
The narrative is built according to the laws of grateful memory, which not only preserves memories of the lost material world but also the spiritual component of life. In "The Year of the Lord" the theme is religious, the theme of the aspiration of the soul of a Russian person to the Kingdom of Heaven is connected with family life Zamoskvoretsky court of the “middle hand” of the Shmelev merchants, the life of Moscow in the eighties of the XIX century. If in the "Sun of the Dead" it was about the destruction of the world created by God, then in the "Summer of the Lord" - about its emergence and eternal development. The boy Vanya and his mentor Gorkin do not just live earthly life with her Annunciation, Easter, the feast of the Iberian icon Mother of God, the Trinity, the Transfiguration of the Lord, the Nativity of Christ, Christmas time, Baptism, Shrovetide, but they believe in the Lord and the infinity of life. This, according to Shmelev, is the spiritual essence of being.
It can be said that the world of the "Leta of the Lord" - the world of Gorkin, Martyn and Kinga, the ram-keeper Fedya and the pious Domna Pan-ferovna, the old coachman Antipushka and the clerk Vasil Vasilyich - simultaneously existed and never existed. Returning in his memories to the past, Shmelev transforms what he saw. Yes, and the hero himself, Shmelev the child, appears before the readers with all the experience of the path traversed by Shmelev the writer. The perception of the world in this book is the perception of both a child and an adult who evaluates what is happening through the prism of time. The writer creates his own special world, a small universe, from which the light of higher morality emanates.
It seems that all of Rus' is shown in this work, although it is only about the Moscow childhood of the boy Vanya Shmelev. For Shmelev the emigrant, this is “ lost heaven". The book "Summer of the Lord" is a memory book and a reminder book. It serves a deep knowledge of Russia, the awakening of love for its ancient way of life. It is necessary to turn back to the past in order to discover the origins of the tragedy of Russia and ways to overcome it, connected, according to Shmelev, only with Christianity.
The novel begins with Clean Monday- the first day of Great Lent following Forgiveness Sunday. The central motif of the book is the motif of paternity, both earthly and heavenly. The name "Year of the Lord" comes from the Gospel of Luke, where it is mentioned that Jesus came "to proclaim the acceptable year of the Lord." Summer here denotes a year of life in God.
Genre and composition of the novel "Summer of the Lord".
The book "Summer of the Lord" implements the principle of ring composition: it consists of forty-one chapters-essays. I.A. Ilyin said that “each essay is closed in itself - these are, as it were, religious and everyday stanzas of Russian life, of which each within its own limits, like an island, is stable and independent. And all are bound together by a kind of continuous circumstance - the life of Russian national religiosity ... ". The ring composition is inherent both in the whole novel as a whole and in individual chapters. In the center of this closed universe is the boy Vanya, on whose behalf the story is being told.
The composition of each chapter (except for the third, "Sorrow") reflects the annual cycle of Orthodox religious holidays and rituals. Here are descriptions of the twelve holidays - the Annunciation, Trinity, Transfiguration, Baptism, Christmas, Palm Sunday - and great holidays, and holidays associated with the veneration of icons and saints, and the "feast of holidays" - Easter.
The first two parts of The Year of the Lord tell about a joyful life with faith in God, about the closeness of God to the life of every person. The third part is a story about death in faith, about the transition of the soul to another world (“Blessing of the Children”, “Unction”, “Death”, “Funeral”, etc.). However, the motive of death does not make the novel gloomy, since the soul is immortal.
Shmelev's book was given a variety of genre definitions: a fairy tale novel, a myth novel, a legend novel, a free epic, etc. This emphasized the power of transforming reality in the work, genre definition which the writer himself did not give. But there is no doubt that "The Summer of the Lord" is a spiritual book, since its inner plot is the formation of the soul of the boy Vanya under the influence of the surrounding reality.
The action in the novel moves in a circle, following annual cycle Russian Orthodoxy. The space is also organized in a circular manner. The center of the universe of little Vanya is his house, which rests on his father - an example of life "in good conscience." This is the first round of the novel. The second circle consists of the "courtyard", the world of Kaluga Street, inhabited by ordinary Russian people. The third cool is Moscow, which Shmelev loved very much and considered the soul of Russia. Moscow in the "Summer of the Lord" is a living, animated being. And the main, fourth circle is Russia. All these circles are placed in the inner space of the hero-narrator's memory.
Each chapter can be considered as a separate work, connected ideologically and thematically with the work as a whole. The composition of the chapter repeats the composition of the novel. In most cases, the narrative is built on a single principle: first, the events in the house or in the yard are described, then Gorkin explains to Vanya the essence of what is happening, after that - a story about how the holiday is celebrated at home, in the temple and throughout Moscow. Each described day is a model of being.
Style I.S. Shmelev.
A distinctive feature of Shmelev's style is materiality, "thingness", the visibility of the depicted, which creates in the reader a sense of presence and participation in what is happening. In the "Summer of the Lord" everything is immersed in everyday life. Each event is described in detail: on Maslenitsa - generous pancakes, Easter tables are striking in abundance, the Lenten market is buzzing and trading. I.A. Bunin saw in "The Summer of the Lord" "molasses" "drowned in pancakes and pies of Russia." But grows out of everyday life artistic idea, which is close to the forms of folklore, legends, according to the literary critic O.N. Mikhailov: “Thus, the mournful and touching death of the father in the “Summer of the Lord” is preceded by a number of formidable omens: prophetic words Palageya Ivanovna, who predicted death for herself; meaningful dreams that Gorkin and his father had dreamed of; a rare flowering of “snake color”, foreshadowing trouble; “dark fire in the eye” of the rabid horse Stalnaya, the “Kyrgyz”, who threw off his father at full gallop. In the aggregate, all the details ... are united by Shmelev's inner artistic worldview ... "
When the world in which all the things described by Shmelev existed disappeared, they ceased to be just signs of everyday life, turning into the life of Russia. The abundance of "material" details is explained by the fact that "God has a lot of everything." The summer of the Lord is graceful, and the tables bursting with food symbolize the well-being of the world lost forever. The hyperbolicity and redundancy of the "material" world reflected the national ideal happy life where milky rivers flow in jelly banks.
Usually in books about childhood, the world of toys is in the first place. In the book "Summer of the Lord" - this is the world of the word. The boy is included in adult life through Mikhail Pankratych Gorkin, who leads him through all the events, educating, explaining the features of each holiday, custom. Epic is given in the novel a stream of images, through characters: carpenters, painters, diggers, etc.
The magnificent Russian language in which “Summer of the Lord” is written was noted by everyone who wrote about this novel. “And language, language ... Without exaggeration, there was no such language before Shmelev in Russian literature. In his autobiographical books, the writer spreads huge carpets embroidered with rough patterns of strongly and boldly placed words, buzzwords, buzzwords, as if the old Shmelev court on Bolshaya Kaluzhskaya spoke again ... Now on every word there is, as it were, gilding, now Shmelev does not remember, but restores the words . From afar, from the outside, he restores them in a new, already magical splendor. The reflection of the never-before, almost fabulous (as on the legendary “royal gold”, which was presented to the carpenter Martyn) falls on the words,” writes O.N. Mikhailov. From the words of the writer, “the fabric of Russian life” is born:
"Christmas...
It seems in this word strong, frosty air, icy purity and snowiness. The very word seems bluish to me. Even in church song -
Christ is born - praise!
Christ from heaven - hide! -
a frosty crunch is heard "(" Christmas time. Birds of God "),
Shmelev passionately dreamed of returning to Russia, at least posthumously. This happened on May 30, 2000, when the ashes of Ivan Sergeevich and Olga Alexandrovna Shmelev were transferred from France to the necropolis of the Donskoy Monastery in Moscow on the initiative of the Russian public and with the assistance of the Russian Government.
We will consider the implementation of Shmelev's compositional model using the example of the Lenten Market chapter.
The time of the story, as always with Shmelev, is limited to one day. This day is the only, unique (like every day human life), and at the same time traditionally repetitive. “The curve ... every year goes to the Lenten market, got used to it and knows how to get along with the people,” Gorkin persuades the coachman Antipa.
Finally, after a long preparation, Vanya and Gorkin set off.
What is the purpose of describing the horse and its equipment in such detail?
This time, the spatial framework opens up immediately - Moscow appears before the eyes of the author-narrator, and with it the reader. The bizarre route of the Curve, with numerous stops, is explained to Vanya by the same Gorkin: “I’m so used to it.” Habit in this context is a symbol of tradition. The horse drove great-grandmother Ustinya: "How many years, but Krivaya remembers everything." The curve (“older than the Moscow River,” as the guard jokes) is the keeper of ancestral memory. Gorkin, who “understands” the behavior of the horse, which is strange and even funny for the uninitiated, makes Vanya a part of this memory, and therefore tradition. "... Your great-grandmother Ustinya kept ordering to land here, she looked at the Kremlin. We'll have a look." History of any kind is inextricably linked with the fate of the country and its people: the Kremlin introduces the theme of historical memory. The boy Vanya is the heir to the family and historical memory, the future keeper of traditions. When he looks at the Kremlin, a feeling of national, Russian wakes up in him:
“This is mine, I know. And walls, and towers, and cathedrals ...> have always been in me. And the smoke of fires, and screams, and the alarm ... - I remember everything! everything seems to be a reality, my reality ... - as if in a forgotten dream. (So sometimes there is a Feeling that we saw, knew people whom we just met, were in this place or in a similar situation - although we know for sure that everything is for the first time.)
The panorama of the Kremlin is shown by Shmelev from the bridge. “What a height, you can see all of Moscow from there.” The spatial perspective passes into the temporal and, merging with it, turns into a “distance of years”. The narrative acquires an additional semantic shade, given where and when these lines were written by Shmelev. The haze of time has already enveloped not only “riots, and axes, and chopping blocks, and prayers,” but also that distant day when the domes of the Cathedral of Christ the Savior, still uncrossed, gilded through the rafters of the scaffolding (determine approximately this date if it is known that the temple " soon... Will reveal").
This is how the most important, fundamental motif in Shmelev's poetics arises - mythological, fabulous, folklore. Martyn the carpenter, who “proved himself to the sovereign”, and Curve (remember the Russian folk tales, where the hero achieves wealth and fame with the help of a horse), and the Kremlin, which “both the Tatars burned, and the Poles burned, and the Frenchman burned, but our Kremlin is still standing. And forever will be. The Kremlin appears to the reader in a radiant golden-pink scale (as on the canvases of Kustodiev), everything is flooded with "sacred, smoky-bluish light: as if they are burning with incense."
The description of the Lenten Market is also sustained in the folklore and fairy tale traditions. The picture of the “great bargaining” is given with the help of the “moving camera” technique: the general panorama (“I am now above bargaining, the people are circling under me”) is replaced by individual frames showing one or another product. The general tone of the entire description is "How much!". “Russia is wide, without weights, by eye,” says the chapter “Christmas”. The same here: cranberries - in buckets, peas - in bags, cabbage, salted watermelons, honey - in tubs, cucumbers are caught in ladles, carrots - in heaps, jelly - in baking sheets, bagel - in carts, sugar - in piles, butter - in barrels, "mushroom" dried - mountains, salty - trough (“we will fill up the whole world with mushrooms”), and there is no end to gingerbread at all. "Eat, Moscow, do not feel sorry! .."
There is not only a scattering of goods on the market - the eyes run wide (with a refrain through the entire description: a Here, a there ...), But also a scattering of a strong, sharp Russian catchphrase.
“Ah, ours to yours ... behind the bun?” - “Lent, it’s necessary to amuse the robs ... How much will you put a seryachok?” - “How much do I do, then you descend!” - “What is painfully intractable, are you getting rich?”
“- Sinners-skulls of grief-chi. Gor-rya-chi sinners! .. "
“- But our forest beef, the mushroom has gone! - Lopasninsky, whiter than snow, cleaner than crystal! Mushroom elarash, vinaigrette ... Chopped mushroom mushroom, there is a cathedral archpriest! Salted-tarred mushrooms, monastic, snack bars ... Mozhaisky boletus! Hierarchal milk mushrooms, no snot! .. Lopasninsky selected, in honey vinegar, ladies' whim, with a fly's head, embarrassingly on the tooth, smaller than small ones! .. "
Think about what traditional folklore technique is used to describe the "great bargain"? Give examples of "olfactory", "gustatory", color and sound images in Shmelev's essay.
The market under the walls of the Kremlin, where the whole country traditionally gathered ("I hear all sorts of names, all sorts of cities of Russia"), opens the Moscow space, and the story is not only about Moscow, but about the whole country and its people.
Among the long syntactic periods with rows homogeneous members there are three short sentences in the essay - one and two words. “Be baptized,” Gorkin says to Vanya, pointing to the Kremlin. Another sentence completes the description of the Lenten Market. Together with Vanya, we have already seen so much, we have tried and smelled so many things, we have heard enough of this - “the head is spinning from the hum”. It seems that the "great bargaining" is in full swing, and suddenly: "It's time to go home."
“The curve is moving forward. The sun is sinking towards sunset, the snow on the river is bluer and colder.
They are evangelizing, it is necessary to hurry up to stand, ”this is how the final part of the essay begins.
Literary critic O. Mikhailov rightly noted that "in ... Shmelev's books everything is immersed in everyday life, but the artistic idea that grows out of it flies over everyday life, already approaching the forms of folklore, legends."
The description of the Lenten market is, as it were, framed - a story about the way (there and back). The episode with Kriva, who fell asleep on the bridge on the way to the market, is symbolic. "Okay, laugh... she's smarter than you..." Gorkin says to the staring people. The same story is repeated on the way back: “We are standing on the bridge. The curve is stuck again. I look back at the Kremlin: Ivan the Great is golden, it’s darker below, and the deaf - isn’t it - the bell languidly calls - remember! that is in a hurry, fussing below. Therefore, according to Shmelev, in “holy Rus'” even “fasting is fun”, and an ordinary trip to the market turns into a real holiday.
Think about what semantic load bears the name old horse- Curve. In this regard, we recall folk expressions: “Whoever drives straight does not spend the night at home”, “On a detour - so by dinner, but straight - so God forbid by night”, “Where the curve will lead”. Let us also pay attention to the fact that the death of Vanya's father is connected with a frantic ride on Stalnaya.
“The curve runs smoothly, reliably, and the chimes float above us. I remember." This word-sentence completes the essay, returning us to the beginning of the story.
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Sacred vocabulary of I.S. Shmelev in the work "Summer of the Lord"
2.1 The history of the creation of the novel "Summer of the Lord"
Despite the streak of persecution, the work of Ivan Sergeevich Shmelev was constantly looking for his faithful and unchanging reader in Russia. During the democratic transformations in our country, his books gained real popularity.
The autobiographical trilogy, which was created by I. S. Shmelev in exile, in France, is the peak of the author's work. In "Praying Man" and "Summer of the Lord" common topic, identical characters, solidity of internal content, compositional and stylistic originality.
In the novel "Summer of the Lord" the author refers to the memories of the years of early years (childhood), which passed in Zamoskvorechye, in the house on Kaluzhskaya Street, which was built by Shmelev's great-grandfather. The merchant business of the Shmelevs began with fishing with wooden containers in Moscow burned by the French: “They burned Moscow, left, ruined everything, no one had anything. Here he is, great-grandfather Ivan ahead of time and realized - everyone needs a layman, dishes ... no spoons, no bowls for anyone ”(“ Praying Man. ′′ At the Trinity ′′). The genealogy of the Shmelevs dates back to the 17th century and goes back to the Morozov Nest of the Old Believers. Great-grandmother Ustinya (the characters of the “Leta of the Lord” repeatedly refer to her authority), although she accepted new faith, but has not lost the patriarchal rules in the house.
The Shmelev family was one of the famous and revered Moscow merchant families. As the writer narrates in his biography, his father, Sergei Ivanovich, "from the age of fifteen he helped his grandfather in contract matters".
Sergei Ivanovich had baths, port facilities on the river, and baths. Separately, his association of carpenters enjoyed fame: Shmelev workers erected scaffolding and scaffolding during the construction of the Cathedral of Christ the Savior (“Praying Man”. “Royal Golden”).
In autobiographical notes of 1913, Shmelev wrote: “ early years gave me a lot of impressions. I received them in the yard. People of every caliber and every social status appeared in our house. There were a lot of words in our yard - all sorts. It was the first book I read - a book of lively, lively and colorful words. Here I felt love and respect for this people, who could do anything.”
“Summer of the Lord” Shmelev undertook to write in December 1927. The first essay was created “Our Christmas. Russian children”: “You want me to tell you about our Christmas, dear boy. Well, what ... ”(The work also had a real-life addressee - Yves, Ivushka, the son of a niece, Shmelev's wife). The essay was published in January 1928 in the Parisian newspaper Vozrozhdenie. Other sections of the novel also appeared in periodicals. The entire novel “The Summer of the Lord” was published in 1948 by the famous Parisian publishing house YMCA-Press, which specialized in Russian literature. In Russia, outstanding chapters were published for the first time in the journal New world"For 1964, the book was finally published only in 1988.
The emigration of Shmelev, like many other Russian writers and cultural figures, was forced. Having experienced all the nightmares civil war, having lost one only son, tormented mentally and physically, 49-year-old Shmelev, together with his wife Olga Alexandrovna, found himself in France.
In 1923, Shmelev published the story "The Sun of the Dead" - a tragic story about what happened in the Crimea during the civil war, "a book of horror and sorrow for the dying values of the human spirit" (N. Kuhlman).
Shmelev's work on the novel "The Summer of the Lord" will again lead him to faith, to God.
In 1925, he wrote to P. B. Struve: “There are many pieces in the records and in memory - they will somehow be connected by a book (in parallel“ To the sun of the dead"). Probably this book will be - "The Sun of the Living" - it goes without saying for me. In the old days, all of us, in Russia, had enough of the living and truly bright, which, probably, has been lost forever. But it was."
It was precisely this desire - to hold back, to give birth from non-existence, to revive in the word that forever lost, but alive - in memory and heart - Russia, the country of his childhood and youth, her clear face - Shmelev was driven, starting to work on an autobiographical cycle.
Already in the first essay, starting with the title - “Our Christmas. Russian Children”, - Russia, where everything is beautiful, wonderful, marvelous, is contrasted with an alien and cold country.
Childhood storytelling - beautifully discovered artistic medium; in the first chapters of writing, the tone of an adult is still caught, which gradually disappears and is replaced by a child narrator. A young child sees the world correctly with his innocent, pure eyes - and this world, celebrations, is more important for us than the world itself - the object of Shmelev's image - the divine service of the annual circle and its reflection in the life of believers. Five of the Twelve Feasts, Pascha, Christmastide, and Great Lent. The writer began his "Russian epic" with the idea of confession. He introduces into the text fragments from the troparia of feasts, stichera, kontakions, psalms, excerpts from the "Great Canon" of St. Andrew of Crete, from the Gospel. Through the mouth of the teacher, Gorkin explains every holiday. Shmelev tells about church services, the order of worship on a specific holiday (for example, on Trinity Day), about decorating the church for Lent, Trinity, and the Transfiguration of the Lord. He also reports religious traditions laity, about Easter cakes and Easters, about the tradition of “Christening”, “crosses” at the Week of the Cross, “larks” ... Shmelev drew an original “month book” and an encyclopedia of life outside Moscow, completed publishing his essays at the end of 1931, and in 1933 in Belgrade, the book "Summer of the Lord" was published. Holidays". And already in April 1934 in the newspapers again, for a specific holiday, essays began to appear with the same characters in the same conditions. This is the second part of the book: "Joys-Sorrows". Comparing "Holidays" and "Joys-Sorrows", we will notice that indeed, they are very different from each other. In the 1st part, it is told about common, "nationwide" holidays, in the 2nd - family holidays and family joys arise. There are chapters: "Name Day" (father), "Mikhail Day" (name day of Gorkin). The chapters "Icebreaker", "Petrovka", "Ice House" are everyday essays, essays about everyday work. inner world boy, and in the chapters "Donskaya", "On the Holy", "Moscow" Moscow is described. The focus seems to be shifting: from the general to the more particular (personal).
Addressing the years of childhood, Shmelev depicts in the novel the worldview of a child who has accepted God into his soul. Peasant and merchant environment shown in the book is not wild" dark kingdom”, but a single and organic world full of spiritual health, hidden culture, love and humanism. Shmelev is alien to romantic sensibility. He depicts the real life of Russian life of not so long ago, without smoothing out the base and ferocious facets of this life, its “sorrows”. But for the innocent baby heart existence reveals itself initially with its unclouded, cheerful side. In "The Year of the Lord" the church-religious layer is very fully and deeply conveyed. folk life. Significance and splendor Orthodox holidays, rituals, customs that remain constant from century to century, is revealed so colorfully and talentedly that the novel has become a real encyclopedia of Russian Orthodoxy. The amazing language of Shmelev is inseparably connected with all the abundance and diversity of living folk speech, the very soul of Russia is imprinted in it.
The work fills the first part of the book with a sense of celebration, we perceive the feelings of a child whose heart includes love for the Creator, for his native culture, for the state. The work is filled with the spirit of Orthodoxy, because the author informs us about folk traditions, festivities. And Russian culture nestles in the Orthodox custom, thus, Shmelev introduces us to the picture of Russian life, with its everyday, "folk" religion. Faith is not scholastic, it is unfeigned, affectionate faith, God is the father of all. This is how Orthodoxy is shown in the creation of Shmelev. The nationality of faith in Shmelev is depicted in one detail: the characters incorrectly articulate the word Ifimony (chants in honor of the saint's holiday) - fimions, philemons, efimions. Uneducated people spoke as they caught. But the bottom line is that not every enlightened person today knows the meaning of the word.
The very title of the work is borrowed by Shmelev from Holy Scripture. (When Jesus Christ came to the Temple of Nazareth, he read the prophecy of Isaiah that “God’s anointed one will come to preach the acceptable year (i.e. era) of the Lord” and said “Today this scripture has been fulfilled…”.
The analysis of the work made it possible to note 140 phraseological units of biblical origin in the text of the story.
Among them come across as obsolete bibleisms (the kingdom of heaven, the Holy Spirit, terrible Judgment, Job long-suffering), as well as phraseological units from the New Testament (guiding star, daily bread, to contribute). Big share Shmelev's biblicalisms originate in the New Testament, in the ratio of three to four.
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