Inconsistent definitions, expressed by oblique cases of nouns (often with a preposition), stand apart if the meaning they express is emphasized: Officers, in new frock coats, white gloves and shiny epaulettes, flaunted the streets and boulevard. Inconsistent definitions can also stand before the noun being defined: In a white tie, in a dandy overcoat open, with a string of stars and crosses on a gold chain in a tailcoat loop, the general was returning from dinner, alone. Typically, such inconsistent definitions:
if they refer to their own name: Sasha Berezhnova, in a silk dress, in a cap on the back of her head and in a shawl, was sitting on a sofa; Fair-haired, with a curly head, without a hat and with his shirt unbuttoned on his chest, Dymov seemed handsome and unusual;
if referring to a personal pronoun: I am surprised that you, with your kindness, do not feel this;
if separated from the word being defined by some other members of the sentence: After dessert, everyone moved to the buffet, where, in a black dress, with a black net on her head, Karolina sat and watched with a smile as they looked at her;
if they form a series of homogeneous members with preceding or subsequent isolated agreed definitions: I saw a peasant, wet, in tatters, with long beard.
Inconsistent definitions are often isolated when naming persons by degree of kinship, profession, position, and so on, because due to the significant specificity of such nouns, the definition serves the purpose of an additional message: Grandfather, in his grandmother's katsaveyka, in an old Kartuz without a visor, squints, smiles at something.
The isolation of an inconsistent definition can serve as a means of deliberately separating this turnover from the neighboring predicate, to which it could be related in meaning and syntactically, and referring it to the subject: Baba, with a long rake in their hands, wander into the field.
Inconsistent definitions are isolated, expressed by a turnover with the form of the comparative degree of the adjective (often the defined noun is preceded by an agreed definition): A force stronger than his will threw him out of there.
In the absence of a prior agreed definition, the inconsistent definition expressed comparative degree adjective, is not isolated: But at another time there was no person more active than him.
Inconsistent definitions are isolated and separated with the help of a dash, expressed by the indefinite form of the verb, in front of which words can be put without loss of meaning, namely: I went to you with pure motives, with only desire- do good! If such a definition is in the middle of a sentence, then it is highlighted with a dash on both sides: Each of them decided this question - to leave or stay - for himself, for his loved ones. But if, according to the context, there should be a comma after the definition, then the second dash is usually omitted: Since there was only one choice - to lose the army and Moscow or one Moscow, then the field marshal had to choose the latter

ornamental prose. Creativity of Boris Pilnyak

In the context of the creative searches of Soviet narrative prose of the 1920s, “ornamentalism” occupies a special place, sometimes defined as rhythmic, poetic or dynamic, as well as “chopped” prose. The founders of this trend in Russian literature were A. Bely and A. Remizov. Ornamental prose is characterized by the following narrative and stylistic features:

A. repetitions (lexical, syntactic, etc.).

b. rhythmization.

V. figurative saturation, active symbolization and metaphorization. Ornamental prose created the original "ornamental" metaphor, from which it took its name.

d. montage principles of composition, fragmentation, "plotlessness", chaotic narration.

e. depersonalization of characters. Heroes act as carriers of ideas, themes, points of view.

and. installation on the aesthetic activity of the word, verbal experimentation up to tongue-tied.

In the 1920s, representatives of ornamentalism were B. Pilnyak, Artyom cheerful, Vsevolod Ivanov, Isaac Babel, L. Leonov, A. Malyshkin, Nick. Nikitin and others. Writers-ornamentalists have created a peculiar model of relations between man and the world, developed a style that corresponds to the dynamics of the era and the lack of a unified system of views on the reality surrounding man associated with it. Ornamentalism is a departure from traditional realism and belongs to the so-called "non-classical prose".

Most prominent representative ornamentalism is Boris Pilnyak (1894-1938). According to V. Shalamov, "the name of Pilnyak was the largest writer's name of the 20s." G. Struve defined him as "a key figure in Soviet literature." “The sign of Pilnyak,” wrote V. Hoffman, a critic of the 1920s, “turned out, in a certain sense, to be a sign of an era, a sign of history.” The work of this writer was deleted from the history of Russian literature for many years, and many of his works belong to the "returned literature" ("The Tale of the Unextinguished Moon"). "Returned Literature" symbol works that were not allowed in the Soviet press and published in the USSR during the period of perestroika (mainly in the second half of the 80s). In the 30s, along with A. Platonov and M. Bulgakov, B. Pilnyak was subjected to furious persecution, because in his works he revealed the inhuman essence of the totalitarian system of his day.

Boris Andreevich Pilnyak ( real name Vogau) was born in 1984 in Mozhaisk, Moscow province. The writer's father was a rural veterinarian, his mother belonged to an old merchant family. Pilnyak's childhood passed in the county towns of the Moscow province (Mozhaisk, Bogorodsk, Kolomna) and in Saratov. Impressions from county life were subsequently reflected in many works of B. Pilnyak. He wrote especially much about Kolomna. It was this city that became one of the most important meaning-forming mythologies in his work, became the basis of the “picture of Russia”, created in 1910 - early 20s. Kolomna performs under different names - "Kolymen-city", "Ordynin city", Roschislavl.

Pilnyak considered the year 1915 to be the beginning of his literary activity. It was in this year that the pseudonym of the writer arose, from the name of the Pilnyanka farm (“Pilnyanka” is the local name for logging) in the Kharkov province, where in October 1915 he stayed with his uncle Savinov, an artist and restorer of church paintings.

Researchers distinguish three stages in Pilnyak's work:

I - the period from 1918 to 1922 (collections of stories "With the last steamboat" (1918), "Bylye" (1920), "Snowstorm" (1921), "White Year" (1922));

II - the period of the NEP up to the year of the great turning point - 1929 ("Mother-stepmother" (1922), "Machines and Wolves" (1924), "The Tale of the Unextinguished Moon" (1926), "Mother of Cheese-Earth" (1927), " Mahogany "(1929)). The story "Red Tree" along with "The Tale of the Unextinguished Moon" played a fatal role in the fate of the writer. These works were charged against him in the indictment of 1937;

III - the period from 1930 to 1937, when the literary path of B. Pilnyak breaks off (the novels "Mahogany", "Ripening of Fruits", books of essays "OK" and "Tajikistan").

The poetics of B. Pilnyak's early story is close to the impressionist style of B. Zaitsev's writing. It is no coincidence that the words from B. Zaitsev's story "Earthly Sorrow" became the epigraph to the collection "With the last steamboat": "And yet I am immensely sorry for the earthly." With this quote, B. Pilnyak pointed to the line of his literary kinship. The stories of this collection are distinguished by subtle lyricism in the depiction of human experiences. The plot in them is weakened, as a rule, taken from life and goes back to some case, incident, experience that took place in reality. The heroes of the stories are ordinary, unremarkable people, mostly district intellectuals. The writer is focused on the transfer of their experiences, their individual attitude. Pilnyak's early stories are filled with a sense of fascination with natural life; human life is subject to biological rhythms, the natural cycle. The author focuses on the biological, instinctively-unconscious beginning of life, considering it to be the main one in comparison with social life.

The idea of ​​the dominance of the natural over the social lies at the heart of the collection Bylye (13 stories). In these stories, B. Pilnyak states “The pagan acceptance of life, that the world is ruled not by ideological forms (“there were hundreds of religions, hundreds of ethics, hundreds of sciences, hundreds of philosophies”), but by natural nature, the universal law of birth and death. The ideological forms of human existence change, but the instinct of Life remains unchanged: “Everyone will give birth, and vetch, and rye, and some kind of mollusk, and there is a person.” And the one who violates this law established by nature is doomed to melancholy and loneliness. In his pagan assertion of natural power, Pilnyak goes to extremes, proposing to replace Christian Easter with "the feast of the great Whore." On March 21, 1915, on Easter Day, he wrote, sharing his thoughts with the editor of the almanac "Harvest" A. Alving : “Nature created itself in such a way that it is born in the spring, lives in the summer, freezes in the autumn and dies in the winter. There are two beginnings in human life - Birth and Death, Spring and Autumn of October. And in nature, Birth and Death are beautiful! For me, Christianity is a silent literacy, which I do not need, has nothing to do with me, and is far from me. And Christian science, as a memory of the suffering of Christ, I do not need. But I love Easter paganly, like the great spring feast of the great Whore, who kindles the blood in the veins! And with her, with this Whore, I would like to congratulate you Arseniy Alexandrovich.

In the collections of short stories "With the last steamboat" and "Bylye" the central antimony of all subsequent works of B. Pilnyak is revealed - the antimony of life - death - two forces, ruling the world. When depicting the natural world, the writer uses the technique anthropomorphization. So in the story "Over the Cliff" the feelings and experiences of the birds - the heroes of the story - are anthropomorphized. The author tells about the history of the meeting, love and rupture of relations between two forest birds - a male and a female. Thanks to anthropomorphization in the story, there is an effect of symbolic parallelism between the natural world and human life, which are based on a single law - the instinct of procreation. In the story "Drifting", using the same technique, Pilnyak tells about the fate of the leader of the wolf pack.

In the stories "Deadly Beckons" B. Pilnyak shows that the life of a person, in essence, is not much different from the life of an animal. The heroines of the stories - Alena and Marina - live in accordance with biological rhythms: they love, give birth, and this is their main life purpose. At the same time, in describing the appearance of the heroines, the author emphasizes their nature, their longing for earthly, physical love, revealing their co-nature to the instinctive-natural world of which they are a part.

Emphasizing the power of the instinctively-unconscious beginning of life, B. Pilnyak, however, shows that a person is not reduced only to his "naturalness". He is included in the social universe and thus is divided between natural and social, between body and spirit. The writer constantly puts his characters before a choice between the biological law (instinct) and the law of God (moral, moral standards), between the conscious and the unconscious, between adherence to traditions and acceptance of the new, in particular the revolution.

Contemporary critics of Pilnyak noted the originality of his style, which was formed under the influence of writers " new school»: B. Zaitsev, A. Remizov, A. Bely. The critic Lutokhin wrote in 1920: “He loves Russian life, folklore, he knows well the back streets of Moscow, the distant province. Here he resembles Pechersky, Remizov, Zamyatin. But this is an affinity, not an imitation. Pilnyak has his own words, his own rhythm, his own themes. He has some particularly clear drawing and subtle thought of a true modernist. Gorky considered B. Pilnyak an imitator of A. Remizov and A. Bely, denying him originality. Among the most important features of B. Pilnyak's writing style, critics singled out "sketchy", "sketchy", which give the impression of random notes inscribed in notebook without any sorting. At the same time, the fragmentation of the narrative, the derivation of raw, unprocessed material was regarded as a conscious aesthetic position of the writer. The poetics of the fragment was characteristic of the literature of the 1920s, aimed at the dynamic reflection of the changing reality.

Leading themes of B. Pilnyak's work, characteristics his style was most clearly manifested in one of his most famous works - in the novel "The Naked Year", written in 1920 and first published in 1922. He called lively discussion and made the name of the writer famous. This novel is an example of ornamental prose. In a revised form, he included stories from the collection "Bylye".

Features of "ornamentalism in the novel:

1. lack of a single plot;

2. rejection of the plot and traditional novel characters, their depersonalization;

3. the principle of installation, combination, "gluing" dissimilar in thematic and style direction"pieces" of the story;

4. the principle of repetition;

5. the absence of a single value position that could be identified with the author's:

6. metaphor, symbolic associativity of images;

7. the use of graphisms, documents, quotes, ad texts, anecdotes, conspiracies, ditties, that is, non-literary elements.

The model of the world created in the novel is close to the pictures of the relationship between man and the world reproduced by avant-garde writers. According to many critics, B. Pilnyak created a new kind of novel genre, "one of the possible models of a literary work of the European avant-garde."

Critic A. Rashkovskaya identified two main trends in the novel. At the level of content - the desire to comprehend the instinctively unconscious beginning of life, revealed by the revolution (the theme of the revolution is one of the main ones in the novel). At the level of form - the search for new ways to embody the novel's idea, breaking with the tradition of storytelling and developing the principles of "symphonism" and ornamentalism outlined by A. Bely and A. Remizov.

Critics called the novel the first response to the revolution. The main place of action is the city of Ordynin. The author focuses on the life and inhabitants of the county town in the revolutionary years. Pilnyak reproduces a picture of the life of the Russian province broken by the revolution. Russian reality appears in the novel through the perception of various characters, but all these images are connected by common leitmotifs: Russia is a revolutionary snowstorm. The motive of the blizzard will play a leading role in Pilnyak's work. The blizzard is a symbol of revolution. Revolutionary Russia is anarchy, hunger, lack of rights, diseases: typhus and syphilis. Pilnyak uses the internal form of words (blizzard - from revenge, sweep, blizzard - from revenge, to be confused). Hence the ambiguity of the word blizzard arises - a symbol of revolution as an element and at the same time something new, sweeping away the old way of life in its path. One of the themes of the novel is the collision of the new Russia with the old, which is difficult to reforge.

The heroes of the novel are representatives of different social classes: the merchants, the nobility, the bourgeoisie, the clergy. For the first time in fiction appeared here "people in leather jackets" - the Bolsheviks. A special place is occupied by the theme of dying noble families, traditional for Russian literature. On the material of the history of the family of the princes Ordynins, B. Pilnyak shows the degeneration and disintegration of the nobility.

The revolution is shown as a destructive element, as a manifestation of rebellion and anarchism inherent in the Russian soul. “I understood the revolution as rebelliousness; October took Rus' to XVII century. There is no International, but there is a national peasant revolution that has expelled everything superficial” (Furmanov). Pilnyak addresses the national origins of the Russian revolution, accumulating national legends, myths, for example, the myth of Stepan Razin (p. 101). It will seem that, despite social changes, the biological basis of life, natural laws remain unchanged: People love each other, copulate, give birth. Pilnyak pays too much attention to the instinctive-unconscious manifestations of life, for which critics often reproached him for naturalism and everyday writing. The type of novel corresponds to the dynamics of the story; it creates the impression of fragmentation, the disintegration of familiar ties.

Experimental in form and content was B. Pilnyak's novel "Machines and Wolves" (1924). It is believed that with this novel Pilnyak was ahead of "The Counterfeiters" by A. Gide and "Counterpoint" by O. Huxley. "Machines and Wolves" is an example of the so-called autothematic novel, a novel in which reflections on the theme of the writing process itself, the principles and methods of construction play a dominant role. this work, potential destinies of heroes and possible resolutions of conflicts. In this type of novel, the author himself analyzes his work and describes and explains in detail the structure of his book, forcing the reader to become, as it were, a participant in the creative process.

Researchers rightly consider The Tale of the Unextinguished Moon (1926) to be one of the most perfect works in the work of B. Pilnyak. The first publication of this story in 1926 in the magazine " New world” can be considered invalid, since the number was immediately confiscated. In Russia, it was published only in 1987 in the Znamya magazine. The story became one of the reasons for the persecution of B. Pilnyak, organized in 1929 after the publication of the story "Red Tree" by the Berlin publishing house "Petropolis". Some researchers associate the beginning of a new stage in the work of B. Pilnyak with this work. In The Tale of the Unextinguished Moon, the author showed the mechanism of the origin totalitarian regime, and therefore modern researchers attribute it to the literature of "early social diagnostics of Soviet society." According to A. Latynina, B. Pilnyak wrote a story “about political assassination, about a man powerless to resist the order. The writer revealed the inhuman essence of the totalitarian system, in which, as one of the critics noted, "it is psychologically impossible to reject an invitation to an execution." Main character story - commander Gavrilov, a man, as the author characterizes him, whose name spoke of the heroism of the whole civil war, about thousands, tens and hundreds of thousands of deaths, suffering, maiming, cold, hunger, sleet and heat of campaigns, about the thunder of cannons, the whistle of bullets and night winds (80). “He was a man whose name was overgrown with legends of war, military prowess, immense courage, courage, stamina. This was a man who had the right and the will to send people to kill their own kind and die.” Suddenly, Gavrilov receives an order to leave the army. He is offered to undergo surgery. Gavrilov understands that he does not need this operation, because he feels healthy. However, after a conversation with a certain “non-stooping man from house number 1,” even the very thought of declining the operation becomes unacceptable. Gavrilov is being operated on. But after the operation, it becomes clear to the doctors that this operation was not needed. Gavrilov dies under the operating knife. He is sedated with chloroform. And, having discovered that he does not have an ulcer, as evidenced by a white scar on the stomach, the patient's stomach is urgently sewn up. But it's too late, because Gavrilov is poisoned by an anesthetic mask. To divert suspicions, a “dead person alive” is placed in the operating room for several days.

Gavrilov, an old soldier of the revolution, who himself sent thousands of people to die, "the completion of the military machine designed to kill" himself becomes its victim. The main conflict of the story is the clash of the emerging totalitarian system, personified by a non-hunching person, and a person who has fallen into the orbit of this system. Pilnyak prophetically recognized the mechanism of subjugation, enslavement of the individual in a totalitarian system. The writer's contemporaries saw political allusions in the story, in particular, the allusion of death in 1925 on the operating table of the military commissar M. V. Frunze; according to historians, his death was inspired by Stalin. In the preface, Pilnyak asks not to see in Frunze and Stalin the prototypes of the characters in his story. However, this notice looks like a hint to the reader, an invitation to just such a historical and political reading.

Modern researchers go beyond the political interpretation of the story, trying to read it in the context of the general aesthetic concept of the writer, associated with the special significance of the biological principle. The work examines the socio-psychological prerequisites for one of the stages of the country's historical development, which is carried out according to the laws of violence against the organic life and has its origins in the Petrine era. The structure of the story includes the motive of retribution. The writer reveals the regularity of the death of Gavrilov, who suffered punishment for the violence he committed, for the violation of the natural organic process. Pilnyak shows that the one who kills, and moreover, builds the murder into a system, will not escape retribution. The moon in the story is a symbol of the birth of a cruel totalitarian system, under which it is psychologically impossible to refuse an invitation to execution.

A. Green and his prose as a manifestation of creative escapism in the ideological and artistic-aesthetic searches of the 20s.

The figure of A. Green (1880-32) stands apart, occupies a unique place) not only in the creative searches of the 1920s, but also in pre-revolutionary prose. The works of this writer for a long time did not enjoy the favor of critics. Green's pre-revolutionary stories were most often regarded as epigone writings, they were presented as imitative examples of Western European literature. In the post-revolutionary decade, when the foundations of a new worldview, consonant with the revolutionary transformations of society, were laid to a large extent, anti-Green sentiments intensified even more. The writer was often reproached for being anti-historic and anti-social. In the 30s. attitude has changed somewhat. Green studies have been replenished with new studies, in which the assessment of the writer's creative heritage has become more unbiased and objective. However, since the second half of the 40s. the anti-green wave is back. In the worst traditions of vulgar sociologism, two articles were written, in which all the main negative interpretations of the writer's work of the previous time turned out to be pulled into a single knot (one of them is V. Vazhdaev "Preacher of Cosmopolitanism: Impure Meaning" pure art» A. Green). These articles served as the theoretical motivation for Green's exclusion from the fund of Soviet literature. Since 1946, the publication of Green's works has ceased. Again, they returned to the Soviet reader only in 1956, from which the so-called. "thaw" period. Green has gained quite a lot of popularity. In the 60s. he turned into one of the most published authors in the USSR, becoming the idol of young readers. In the 60-80s. green science has developed into a separate, serious special discipline. Among the most famous green scientists are V. E. Kovsky, L. Mikhailova, N. A. Kobzev. That fact is interesting. That one mountain peak and a star discovered by astronomers are named after Greene. A lot of research on the writer's work has been done abroad.

Despite the crude, anti-aesthetic interpretations given by sociological literary criticism of Green's creative position, they contain, so to speak, a certain reflection of truth, only truth distorted, vulgarly perverted to please the dominant ideology. As V. E. Kovsky rightly notes, “Green is in Russian literature Soviet era a unique example of creativity escapism (translated from English. Escape from life, closing in on oneself): he does not participate in lit. Wrestling, does not adjoin any of the aesthetic trends, trends or groupings that were so abundant in the "Silver Age" and the 20s, does not respond to ... the requirements of relevance and modernity works of art". This is a pronounced lone writer, a kind of creative hermit, living purely in the world he created himself - Greenland. This is how researchers call the generalized chronotope of Green's prose. Greenland is a fictional country with its own geography, from which Liss, Gel-Gyu, Zurbagan are now familiar to everyone.

It must be said that and as a person, Green seemed to many strange, very withdrawn and lonely, living very aloof, as if outside the main interests and social predilections of his time. In 1924, the writer moved from St. Petersburg, first to Feodosia, and then to small town not far from it is Old Crimea. It was during the period of the Crimean hermitage that he created all the most significant (with the exception of "Scarlet Sails") works: the novels "The Shining World", "The Golden Chain", "Running on the Waves", "Jesse and Morgiana", "The Road to Nowhere".

Some of the most notable foundations of Greene's Romance aesthetics are marvelous, wonderful, fantastic , as well as categories of good and evil. Thus, the extravaganza "Scarlet Sails" (1921) is essentially an image-concept of a miracle created by the writer's own hands.

At the heart of the ideological meaning of the novels "The Shining World" and "Running on the Waves" is the category of the fantastic. Green is considered one of the founders of modern fantasy. And the novel "Jesse and Morgiana" is, in essence, a work about the duel of good and evil, beautiful and ugly in nature, the soul and life of a person.

Green is classified as a neo-romantic, seeing the origins of his method in the work of Edgar Allan Poe, Stevenson. The main pathos of his novels is lyric-romantic.

Green's prose is distinguished by in-depth psychologism associated with the sphere of the subconscious, inexplicable, sometimes mystical states of the soul.

Varlamov A.N. Alexander Green. – M.: Mol. Guard, 2005. - 452 p.: ill. – (Life of remarkable people: Ser. Biogr.; Issue 919).

Speaking about the life path of Alexander Grin, it must be admitted that it was not his life and not his literature that was truly Christian ... but death, however, for Christians, death is of particular importance.

According to the memoirs of Nina Green, "he died without murmuring and meekly, without cursing anyone or becoming embittered."

Nina Green, the writer's wife, outlived her husband a lot, she did a lot to preserve the memory of him. Wrote memoirs. Despite the resistance of the authorities (Nina Green served time in the Gulag), she tried to ensure that the house where the writer had recently lived was opened memorial museum. Nina Green bequeathed to be buried with Green. But her will was not executed, and then she was reburied secretly. For more than a decade, she was the wife of Green, a man with whom it was not easy: alcoholism, frequent lack of money, loneliness in a literary environment. And behind him is a difficult life filled with wanderings, the struggle for recognition, a prison. Green has created art world- Greenland. He was often reproached for imitation (the image of a foreigner in Russian literature was attached to the writer), many fellow writers did not take him seriously. In the late 1920s the writer's works were almost never published, considering them inconsistent with the spirit of the new time. Even before the revolution, Grin seemed to have fallen out of the spiritual era in which he lived. It almost does not fit into the typical trends, trends of the Silver Age - seeking God, sectarianism, eroticism, decadence, etc.). Green has always been emphasized individual, unfashionable, even deliberately anti-fashion. He never changed his manner, remaining himself.

“In the fates of Green and Prishvin, despite the abyss of differences, there is much in common: expulsion from school for bad behavior, revolutionary activity in his youth, prison (very hard experienced), the following disappointment and rejection of revolutionary ideas, wandering, late arrival in literature , semi-recognition in the literature of the Silver Age, "fear of the people" into the revolution, the desire for solitude in Soviet time, opposing oneself to the literary environment and finally an attempt to go into a dream: with Green to Greenland, with Prishvin in the 30s - to Dryandia. Green has the South, Prishvin has the North, and both have the House - as a result life path and last resort.

"Scarlet Sails" was written in the Hungry post-revolutionary Petrograd, while living in the Disk. It is hard to believe that one of the most poetic works of Russian literature, the solar extravaganza, was written in a gloomy, cold, half-starved city, in the winter twilight of the harsh 1920.

The era of the 60s of the XX century, which gave rise to a huge interest in the personality and work of Green, became a true anthem to the "Scarlet Sails". Across the country, youth clubs arose, bearing the name "Scarlet Sails", in contrast to the Komsomol bureaucracy and overorganization. " Scarlet sails” called children's choir and dance studios, football teams, restaurants, cinemas, theater studios. It was then that the name of Green became known to literally every Soviet person, although often the acquaintance with his work was limited to Scarlet Sails.

In the post-war decade, Green was declared a cosmopolitan, devoid of a sense of national identity, patriotism. “an archeological phenomenon. This writer refused to depict Russian reality. He constantly lived in a world of conditional foreign characters invented by him. The names and geographical names chosen by Green are frankly frank. At the heart of Green's work was a thoughtful contempt for everything Russian, national ...

He did not like cars, airplanes, believing that a person used to be winged, he knew how to fly. It is no coincidence that the main character of his novel "The Shining World" was a flying man. Many left memories of him as a gloomy, withdrawn, arrogant, unsociable, stiff, conflicted person. So, during his life in the Disk, he did not make friends with anyone, he gave the impression of an unpleasant and uncommunicative subject.

Divorced from his first wife. Her name was Vera Pavlovna Abramova (he met her when she was a "prison bride") Kalitskaya. And she also left memories of him.

What is Greenland? “This is not a parody, and not a utopia, and not a satire, and not a cosmopolitan paradise, and not some new reality. Even modern attempts to compare it with magical worlds Tolkien and Lewis look like a stretch and an attempt to strike back in order to create a domestic fantasy. Greenland is Greenland, and there is nothing to add to this formula. In Soviet literature of the 1920s, he was not the only writer who transferred the action of his works to the conditional or non-conditional capitalist world. Something similar can be found in I. Ehrenburg, B. Lavrenev, M. Shaginyan, A. Toltoy, A. Belyaev, K. Fedin, Olesha in "Three Fat Men" ... But all this was done with political goals: to show the struggle of the working class ( people) for their liberation (against the rich). Someone came out more talented, for someone it all came down to this struggle, for others it acted only as a background, like Olesha, and for some, if you wish, you can find a satire on the revolution, like Ehrenburg. But for all the revolution is a fait accompli. Greene simply doesn't have it... The Socialist Revolution, this main event in the history of the 20th century, does not smell in Greenland.

He had a hard, painful life...

Vl. wrote very well about his actual state of health in the Soviet era and among Soviet writers. Leadin:

“Pale, tired and lonely, few of the Moscow writers knew by sight, he sat alone on a bench.

Alexander Stepanovich, maybe you don't feel well? I asked as I approached him.

He looked up at me with somewhat heavy eyes.

Why might I feel bad? - he asked in turn - I'm always good.

I sensed, however, a certain bitterness in his words.

Green has his own world,” he said to me admonishingly when I sat down beside him. - If Green does not like something, he goes to his own world. It's good, I can assure you.

His opposition to the Soviet system did not have a drop of open or even hidden opposition or secret sympathy for emigration, where many of his literary friends had gone, to White movement, the monarchy, the anti-Soviet underground.

According to one recollection at a literary meeting, I. Bunin, amazed at how Green drank "American ruff" (a wild mixture of champagne, beer, lemonade and vodka, with ground pepper added to it, a glass of vinegar and fifty valerian drops) asked not from Siberia whether he? Green replied: From Zurbagan!

Bunin traveled all over the world, knew all the cities and countries perfectly, and then he asked again. And then Kuprin answered Bunin:

Zurbagan is, mommy, a city invented by Alexander Stepanovich. Didn't you read it?

Jessie is in the same row as Assol, Molly, Tavi Tum and Desi. All these are variations of the same image, largely inspired by Nina Green, who for many years played the role of a woman-child, and it is no coincidence that this novel is dedicated to her instead of the dedication taken from The Runner.

Morgiana comes from Rune from The Shining World, from the werewolf women from The Pied Piper, from Dige from The Golden Chain, from El Basso Bullfighting from The Gray Car, but the evil in her is condensed, the evil is so strong that it disfigures not only her inner world, but also her appearance, in this novel are directly interconnected.

Green did not like the painting "La Gioconda".

The last years he lived in the Crimea. Crimean hermit. But he was already seriously ill. He always looked much older. He did not like the North, the Russian province (City of childhood - Vyatka did not like). The North Russian and Central Russian national landscape is practically absent in his prose. Instead, an exotic, southern landscape is presented.

The prose of the 1920s is characterized not only by the depiction of the realities of life, but also by the activation of conditional, expressive forms of text organization. The two main ones are skaz and ornamental prose.

A tale is a form of text organization focused on someone else's consciousness, on someone else's type of thinking. The character of the hero is primarily in the manner of speaking. A tale always expresses the point of view of one society or another (the proletariat, the peasantry, the bureaucracy). An example is the philistinism in Zoshchenko's stories, the Red Army soldiers in Babel's Cavalry.

Zoshchenko is an innovator in the field of narration.

In early stories, such as “Lalka Fifty”, “Fish Female”, as well as in the “Stories of Nazar Ilyich, Mr. Sinebryukhov”, published in a separate edition, this was still a traditional tale with “a setting for oral speech of the narrator” (Eikhenbaum), separated from the author .

Subsequently, Zoshchenko abandoned all literary masks (Sinebryukhov, Kurochkina), the narrator merged with the author. Moreover, this is a writer, a writer who spoke in the first person: “Let the reader feel for his money - I am publishing this story with a danger to health” (“Good Friend”).

This author-narrator makes many speech errors (“plitoire”, “okromya”, “this”, “brunette”). Moreover, this is not Leskov's mosaic of old, rare and pretentious words, but a living speech that sounded then in the markets, in trams, in lines, in baths.

Ornamental prose is a form of organizing a prose text according to the laws of a poetic one: the plot fades into the background, metaphors, images, associations, leitmotifs, and rhythm come to the fore. The word becomes valuable in itself, acquires many semantic nuances. Examples are Bulgakov's "White Guard", Pilnyak's "Naked Year", Olesha's "Envy".

Each writer uses ornamentalism for his tasks.

Bulgakov contrasts the chaos of history with the harmony of the life of the Turbins. Therefore, the role of details is great: a stove with tiles, cream curtains, blue hydrangeas, red velvet furniture, cups with delicate flowers. These details, becoming leitmotifs, make simple family relationships a symbol of sustainability.

Pilnyak shows the county town of Ordynin, stirred up by the revolution. It collides two truths - the age-old patriarchal province and the element of the people. And in this ornamentalism gives him complete freedom. He includes in the text and excerpts from the philosophical writings of the hero of the novel Zilotov, and an excerpt from a newspaper article, and a ditty. Gives a polyphonic sound of voices - the merchant Emelyan Ratchin, his son Donat, Prince Evgraf, the typist Olechka Kuns, the poet Pyotr Oreshin.

There is no single plot - there is a whirlwind of revolution, an image of a blizzard, as in Blok's The Twelve. He, like Blok, accepts the revolution as a historical pattern. He is waiting for the new and at the same time old Rus', destroyed by Peter I, to emerge from the whirlwind. He welcomes her, following the actions of the “leather jackets”.

Olesha compares the extremes of personality concepts proposed by the literature of the 1920s. In the image of Andrei Babichev - utilitarianism, characteristic of Proletkult, RAPP, LEF. This hero is just a carrier of a function. And in the images of Nikolai Kavalerov and Ivan Babichev - exaltation, a cult of feeling.

In the 1930s, connections with skaz and ornamentalism - a discussion about language. Two writers, Gorky and Panferov, argued whether it was possible to introduce new or local words into the literary language. Gorky did not like the Panferov word "bazynit" (God is all that means) or "shrink". Panferov: “If five good words remain out of 100, then it’s good.” Gorky disagreed. The dispute resulted in a condemnation of Zoshchenko's tale, Pilnyak's ornamentalism, Bulgakov's and Tynyanov's poetic prose. Gorky hardly understood how he would influence the fate of writers, it was just that those who carried out literary selection used his authority.

In March 1936, Literaturnaya Gazeta published a whole string of repentances by former Formalists. Brik spoke of "a self-sufficient play with words, sounds, colors, which is not at all harmless", Paustovsky - that "formalists look down on reality", Olesha - that "the era needs wise simplicity".

Ministry of Education of the Russian Federation
Municipal Autonomous General Educational Institution
Medium comprehensive school №11

(based on the story "Usvyatsky helmet-bearers")

Performed
student of class 9 "a"
Zimareva Julia
Supervisor
teacher of Russian language
Kurakina Svetlana
Yakovlevna

Berezniki
1

Content
2016
Page
Introduction................................................. ................................................. ..... 3
Chapter I short biography Evgeny Ivanovich Nosov .............................. 5
Chapter II. What is ornamental prose .................................................................. ....... 6
Chapter III. About the story “Usvyatsky helmet-bearers” .............................................. .7
Chapter IV. Stylistic features .................................................................. ........... 9
1.
2.
3.
4.
The vernacular element of the language .................................................. ................ 9
Metaphor and figurativeness of speech .............................................. ....... eleven
Poetic storytelling .............................................................. .............. 16
Attraction to word creation (author's neologisms).................................. 18
Chapter V. Of the role of language in modern life.............................................. 20
Conclusion................................................. ................................................. ..21
Sources................................................. ................................................. ...... 22
2

Introduction.
Evgeny Nosov versatile talented person. His literary
creativity is diverse with an abundance of themes and motives. In the minds of the masses
reader, his name is associated primarily with village prose, but
The theme of war dominates in his work.
We meet the heroes of Russian literature about the past war in the trenches, in
tank attacks, in daring reconnaissance sorties, in partisan detachments.
Nosov's story "Usvyatsky helmet-bearers" is turned to the prehistory of their
military life, to the very starting point from which a thousand
four hundred and eighteen days of heroic and tragic chronology
Great Patriotic War. This is a new aspect of the theme of war in literature,
subtly exploring the genealogy of Russian heroism.
The writer himself said: “In general, the theme of the war is not my main one.
main theme there was and remains the village, its pressing problems ... But the war
alive in the history of the village.
According to the deep conviction of E.I. Nosov, to write authentically and deeply about
war can only be a person who has been in its crucible.
He explained the "principle" of his work something like this: simply
write a simple story about a simple. That is, Evgeny Nosov asked himself
each time the task is not to be imposed on the reader with a literary "brew", but
How to let life speak for itself.
He determined the quality of literature not on the basis of "what", but on
sign "how". And when reading Yevgeny Nosov's prose, you first try
take note of this “how”, you return to the places you read earlier,
you look closely and “calculate” - how it’s done, pokrokhoborsky
you pinch off now from the description of nature, now from the outline of character.
Most researchers considered the story "Usvyatsky
helmet-bearers" within the framework of the aesthetics of rural prose, or from the point of view of
nationalities, or were looking for philosophical motives and biblical analogies
texts. But none of them have yet studied his unique language of stylistic
peculiarities.
The story draws attention to the brilliant possession of the writer
Russian literary language. For this reason, we have decided to focus
attention to the stylistic originality of the embodiment military theme, namely:
ornamental prose.
Target:
3

study of the style features of the story by E.I. Nosov "Usvyatsky
helmet-bearers"
The object of study is the story of Evgeny Ivanovich Nosov "Usvyatsky
helmet-bearers." The subject of study is the methods and techniques of ornamental prose
in the story.
Tasks:
Get acquainted with the biography of the writer and read carefully
1.
work.
2.
3.
To study literary articles about the work of E. Nosov.
To get acquainted with the features of ornamental prose.
Work out the lexical material of the story: write out “unusual”
4.
For modern reader words and organize them.
After analyzing the language and style of the story, determine their role in the disclosure
5.
the ideological content of the work.
The practical significance of the work lies in the fact that the material,
set out in it, can be used in the study of courses "Russian
literature of the XX century”, “Literary local history”, as well as in the development
review topics military prose XX century”, “Village prose of the XX century”, and
also in preparing students for literature olympiads.
HYPOTHESIS???!!!
4

Chapter I. Brief biography of Evgeny Ivanovich Nosov.
Hero of Socialist Labor,
Evgeny Ivanovich Nosov (January 15, 1925, village of Tolmachovo, Kursk
region - June 13, 2002, Kursk) - Russian writer, prose writer, author
stories and short stories
laureate
State Prize, Honorary Citizen of Kursk.
Yevgeny Nosov was born into the family of a hereditary craftsman, a blacksmith.
At the age of sixteen, he survived the Nazi occupation. graduated
eighth grade and after the Battle of Kursk (July 5-August 23, 1943)
went to the front, enrolling in the artillery troops, becoming a gunner.
Participated in the operation "Bagration", in the battles on the Rogachev bridgehead for
Dnieper. Fought in Poland.
In the battles near Koenigsberg on February 8, 1945 he was seriously wounded and on May 9, 1945
met in a hospital in Serpukhov, about which he later wrote the story “Red
wine of victory. After leaving the hospital, he received disability benefits.
After the war, he graduated from high school. Left for Kazakhstan Central Asia,
worked as an artist, designer, literary collaborator. Began
write prose.
5

Chapter II. What is ornamental prose.
classical prose based on semantico culture
logical connections, on the observance of the sequence in the presentation
thoughts.
Classical prose is mostly epic,
intellectual; its rhythm is based on approximate
correlation of syntactic constructions.

Ornamental (from
lat. ornamentum-
decoration) prose is based on the associative metaphorical type
connections. This is "decorated" prose, prose with "a rich system of
imagery”, with metaphorical prettiness. Such prose is often
folklore.
draws its visual resources from
Ornamental prose most often looks like a kind of
literary form experiments: then this is an appeal to the active
word creation, then to excessive archaism of syntax and
vocabulary, then to the imitation of the fantastic form.

becomes

Word
subject
linguistic
experiment. Word creation is a way of aesthetic
thinking
such
combinations: softened eyes, white-breasted swallow;).
The increased figurativeness of ornamental prose creates the impression
speeches in the highest degree picturesque, pictorial.
(For example,

The style of ornamental prose is created in different ways:
1. appeal to the common element of the language
(speech
dialect, vernacular, colloquial, obsolete, native
Russian and Old Slavonic vocabulary);
2. metaphorical, figurative (metaphors, lyrical
digressions, fairy tales, tales, epics, folk songs, ditties,
proverbs and sayings, mythology);
3. increased emotionality (poetry, symbolism,
dreams, reception of reticence);
4.
disagreements).
(author's neologisms,
word creation
reception
6

Chapter III. About E.I. Nosov "Usvyatsky helmet-bearers".
The story of Evgeny Nosov "Usvyatsky helmet-bearers" - top
writer's work.
It was conceived and executed by Evgeny Nosov - the essence of the revelation of
dignity of the Russian people. According to the plot, the story tells about the last
days of the life of Usvyatsky peasants before their departure for the war and actually about
leaving them. The narrative is filled with pictures of the earthly, previous
war of existence: work, home, children... There is still no war on the pages of the story -
the war is felt as the cessation of this earthly thing - but the story is about
this: the dignity of a person lies in honestly fulfilling his earthly things.
Kasyan will have to leave along with the rest of the Usvyatsky peasants for
war, where does he come from, judging by the mood of the story and by its highest guess,
will not return, "for the time is at hand."
The main story of the artist is how a caring creature wears a debt
to protect everything that is included in the circle of his life: family, home, homeland, peace, and
therefore subject to military duty. The tale of what came before
the departure of the peasants to the army, about the standing of the world before the war. Leisurely conversation
the writer prepares the thought of the time for Man to fulfill his duty in
the last rati, unprecedented in Rus' in its bloodshed and cruelty.
The author's idea of ​​the beginning of the story pursued, of course,
own purpose: to prepare the reader's perception for the thought of
the inevitability of trouble and hand over a certain key to understanding the whole story.
A story that, as it were, is not entirely about the war, in the sense that there was no
there were no battle scenes in it and not even a single shot was fired, but
unfolded slowly, as if in slow motion, an epic
storytelling about the life of the deep village of Usviaty in the first days after
declarations of war, about how the Usvyatsky peasants, peace-loving by their very nature
peasant essence, psychologically broke themselves for military affairs and
spiritually prepared for the new sacred role of "helmet-bearers" - defenders
of his Fatherland. But how was all this artistically recreated, on what
piercing note was narrated, using precise,
accurate, truthful vernacular from which, without exaggeration,
breathtaking!..
With an amazing wealth of details Evgeny Nosov
traces how in the first ten war days we will not stop, the
the process of renunciation of Kasyan and others like him from a peaceful mood,
peaceful cares, how he truly realizes what his house, wife, children are,
mother, neighbors, village, district.
7

Traditionally, literary criticism classifies Yevgeny Nosov as a
village writers. However, in his best works, readers
find not only a philosophical understanding of the existence of people and the Fatherland, but also
peasant understanding of natural and everyday processes in their native land.
Skill, breadth of interests and realistic experience of Evgeny Nosov
natural, natural, rich and varied. It is easy, free and
artistically paints whole pictures of the working village, the army,
a people rising to the holy struggle.
8

Chapter IV. Stylistic features of the language story
Evgeny Ivanovich Nosov "Usvyatsky helmet-bearers".
Ornamental prose includes 4 components:
1)
2)
3)
4)
vernacular
metaphorical speech
increased emotionality of speech
word creation
They talk about Nosov as a stylist with a gold standard. But style is just
a sign of a different, more capacious quality of the language. It's about some
secrets acquired for a long literary activity, which
young writers can no longer figure it out.
1.
Common speech.
includes speech dialect, vernacular, colloquial,
obsolete, native Russian and Old Slavonic vocabulary.
 The beginning of the story is mowing grass in the Ostomel meadows. Kasyan stands on
meadow with his “clever, worn (dialect) scythe”, wondering, “what
now non-rotating (colloquial) herbs. Kasyan is thirty-six years old -
"the most ripe peasant time."
 Kasyan is in the very heart of Russian nature, in a meadow by the river
Ostomli. On the right side of it are native, inhabited places, to which
it looks “with a happy squint (colloquial)”. Kasyan sees
“since childhood” (colloquial) Ostomly the consoling river, marked on everything
its timid, evasive (colloquial) shore with coastal willows,
tabletop expanse of meadows on the other side, Usvyaty’s own village on
distant hillock, already warmed by huts (metaphor) under the early
red sun, and a thin candle of the bell tower, pink and weightless
shone aside over the loaves...”
On the left hand “uninhabited side (dialect), not every day
well-groomed ”(colloquial), which we still have to remember differently
about: “a wild, wild loan (dial.), an impassable courtesy
thicket in the sweet dope of viburnum, in the indefatigable bird whistling and
slit. Secluded paths and manholes, bypassing the grassy, ​​hummocky
swamp, led to the hidden old women, no one in the whole human world
unknown, except for the usvyatians alone, where they themselves, fearing something,
9

cautiously looking around at the centuries-old hollow willows in the tufts of dry coolies, with
furtively hastily placed wicker kubari on a bronze-cast
lake fish, hunted with deck honey, wild currants and
every potion."
“So the whole world, the whole Kasyanov universe, where he lived and never
was bored, read, described by a horizon with half a dozen
(obsolete) villages in this circle.
 Kasyan goes from the mowing to the spring to drink water: “Burning up the burdock (dial.)
and crouching on all fours, Kasyan then began to grab the scalding
a trickle, elastically whipped from a herbal pipe, from a trimming of hogweed
(dial.), then substituted a rough, reddish face under it and
even tried to slip the top of his head under the tune, and after quenching his thirst,
splashed handfuls on his back and, frozen, involuntarily stopped
breathe, overcoming the cold (dial.), which sharply cut through the body between
shoulder blades shifted together, groaned martyrically, hummed to all tense
inside, standing like a beast, on all fours at the foot of the mountain. And it was
then joyfully and rejuvenated to sit naked (dial.) on a warm mound,
slowly get on with a cigarette (dial.) and just as slowly glance at
parties."
The image of Kasyan in the meadows is enlarged to the value of the first man in
Universe, he is capable of the subtlest emotional experiences.
 Kasyan's house in the village of Usviaty: “The village is already well
seen on the top. Kasyan, as usual, also found his house: just
opposite the well crane. He was always quiet, with a reserved
silently tied to his home, especially after being brought into
mistress Natahu, who somehow immediately came to the court, recognized him
her own, as if she was born here, and without long glances (colloquial) troublesome
clucked around the house (colloquial). Yes, and from himself, as he received from his father
courtyard, it became a habit to go around at every free moment,
throw around housing, outbuildings (colloquial), cellar from all sides
(colloquial), well felled (colloquial), dry and cool, on a high
put up a barn (colloquial), tied in three whips (colloquial) still
fresh wattle fence, each time slowly looking at what else
forge, strengthen, prop up or sort out again.
 Kasyan, Nikola Zyablov, Lekha Makhotin, Afonyakuznets begin to think
wider, deeper, which helps with his stories about the past grandfather Selivan,
in the past, a well-deserved warrior, St. George Knight. In his eloquent words,
saturated with countless proverbs, sayings and other
10

aphorisms, none of which is superfluous - compressed experience
generations.
 “The oilcloth notebook rolled up in a chock ... was already pretty battered,
filthy these days with many hands overtaken by her where and how necessary,
as soon as she found Kasyan too. Her pages folded and folded into
chemical spills and dried water stains, in prints
oil and tar fingers, with these silent traces of someone already
predetermined destinies, someone's noisy spiritual turmoil and sorrows,
full of columns of surnames, against which the inept ones were already listed,
jumping and crawling scribbles of signatures. Came across and
simple crosses, also awkward, lopsided, one higher than the other, and
they looked next to the names of still living people as if
cemetery crucifixes.
“So people are needed. Like firewood (dialect) in the stove, ”concludes
on horseback, unaware, of course, of what force the fire will burn these
people in that unprecedented war.
 A lieutenant from the military registration and enlistment office who organizes the collection of conscripts and send them to
parts - appears as if from another world. “... a thorough person, everything
counts on pieces of paper: “The sheets must have been folded incorrectly
(colloquial speech), because the silent lieutenant took it slowly, with
put some sort of order into them with oppressive thoroughness: again
put.
Nikola (an icon in the house of Kasyan), who from time immemorial (colloquial) kept everything
their (common speech) accounts with this worldly life.
vague and indefinite, it thickened more and more in the sky, gathered in
a roaring and groaning lump, indicating its movement directly towards Kasyan,
and when this clot of howling and roaring, accelerating its years (colloquial), crossed
I'll suffocate and already tore the skies above my head, Kasyan hurriedly
began to peer, scour (colloquial) among the stars blurred by the lunar
radiance.
2. Metaphorical and figurative speech
includes metaphors, digressions, fairy tales, tales, epics,
folk songs, ditties, lamentations, proverbs and sayings,
mythology.
Take a worthy place in great Russian literature E.I. Nosov allows
and a brilliant command of the Russian literary language. Knowledge of the people
11

colloquial language, Kursk dialect words, stemming from
comprehension of the deep foundations peasant life, live communication with
inhabitants of the Russian village, largely inherited by the writer from his grandmother
- keepers of ancient legends, traditions, legends, customs, traditions.
A) metaphors
 Kasyan is thirty-six years old - “the ripest peasant time”
 Kasyan sees the consoling river Ostomlya, marked on
all its timid evasive shore with coastal willows,
tabletop expanse of meadows on the other side.
 Must be Usvyatsky “material”, all these men seemed to him
at first, like grandfather Selivan elsewhere in the story: “... like gray
pots before firing: none of them was given to know who
will come out of this fire calcined to the sound, and who at the first
but the hollow will crack to the very end.”
 In Evgeny Nosov's story, the sky is filled with an alien threat.
Let's remember the moon, which looks like a piece of a paired lung, on top of
bathing in Ostomla, the shadow of a long-legged buzzard falls: “Someone
invisible eyes, someone's robbery plan circled over
peaceful shores."
 Kasyan at night hears the sound of an approaching bomber: “First
vague and indefinite, it grew thicker and thicker in the sky,
gathered in a roaring and groaning lump, indicating its movement
straight at Kasyan, and when this clot of howling and roaring, all accelerating its
years, crossed Ostomlya and already tore the skies (metaphor) over
with his head, Kasyan hurriedly began peering, scouring
stars blurred by moonlight.
 “In the brightest circle of the sky, he suddenly for a few moments,
like an otherworldly vision, grabbed by the eyes (metaphor)
huge winged body of a bomber. The plane wasn't flying very high.
even all four of its motors winding around the propellers were distinguishable
swirling lunar web (metaphor), flew without lights, as if
blind, and it seemed to him that it was hard, unable (colloquial) to carry this
black blind immensity - so strained (colloquial) and hard roared
with all my inflamed guts.

B) Lyrical digression.
 A wonderful picture of the Ostomly River opens from the window of his house.
“Water itself, even if it is in a bucket, is an unknown miracle. When
she runs day and night (old-timer) on the banks, then skittishly
12

flattening (dial.) with a tight irresistible force (colloquial) on the riffles, then
grading and filling (dial.) with greenish black near the turning clays
(colloquial); when it is covered with a milky pillowcase of fog (colloquial), under
which invisibly and mysteriously hoots (colloquial) suddenly jumped fish
(colloquial), then meekly lined in the evening before sleep (neologism)
the purest mirror, absorbing the entire universe - from low
leaning reeds of reeds to frozen drowsily (colloquial)
cirrus clouds; when in the night around (colloquial) you can hear far away how
with a polyphonic link and a splash, it breaks from the tray to the mill
wheel, then it is no longer just water, but something even more wonderful and
inexplicable. And not a single inhabitant of Ostomel could give him
interpretation, did not find, and did not try to look for any words in himself, but
called simply a river, wordlessly and quietly carrying in himself the feeling of this
diva...
... The river was receding, noisy children's gangs rushed after it,
it was tempting to rummage through the meadows after the water had gone.
What could not be found here: also a good, well-managed oar, and
boat ladle, and silt-covered winder or head over heels and chiseled
spindle, or even a spinning wheel. As a boy, Kasyan even found
an accordion, which, although it got wet and stuffed sand into torn wineskins, but
but the slats remained intact, and then he, having nailed them to the old
bootleg, played all sorts of merry matani.
... And all this - under the lapwing call, under the lamb's pale

So: The man in Yevgeny Nosov's story "Usvyatsky helmet-bearers" is
being natural, whole and animated, attached to life,
in love with the Light and its essence is care. He is natural in this Light and
constitutes its principal value.
Ostomly's painting, in its lively expressiveness and in the attention it
with which the artist takes a fancy to his every word, every line in
its description, is, truly, the concentration of the world outlook. With such
gratitude to the being that surrounds a person, with such
by the penetration of the depicted Light, little can be compared in
his story. The writer, with all the power of his gift, writes about “what
could give interpretations” Ostomel residents. And with bitter foreboding
we are in a hurry to get enough of the soul with this picture of the beautiful Light, for according to
to our guess, he will disappear just like the Man who settled in him ...
B) Fairy tales
13

 Kasyan's wife Natakh, pregnant with the third, tells a fairy tale to her
to the youngest: “And that German snake with three heads ... fire from the nostrils
splashes, from the green eyes of lightning fly. Yes, only our folder in
iron helmet, and an iron shirt on him ... "7 Revelation: "The dragon
this one (with seven heads) stood before the woman who was about to give birth,
so that when she gives birth, he may devour her child.”
D) Tale
How three snakes lived near the rotten swamp:
Like one snake who calls,
Like a second snake crawling
Like a third snake...
D) Bylina
 Similarity to the epic.
In the "Usvyatsky helmet-bearers" there are 3 bogatyr riders. First:
brigadier "voivode" Ivan Dronov, "all with the same impassable
gloomy curvature on closed lips ”- he was one of the first
Usvyattsev will voluntarily go to war. The second collective farmer Davydko,
who brought the news of the outbreak of war to the mowing: “black-baked
a peasant in silver bristles on sunken cheeks ”- and galloping with the news
“elbows with wings, a shirt with a bubble.” The third rider arrived in Usvyaty with
summons for mobilization for war: “horseback, tucking as if
set fire to the farmsteads with a torch, and they instantly engaged in windy
weeping and confusion, as happens only in Russian ingenuous
villages where neither joy nor inconsolable grief is hidden.
E) Folk songs
Oh, you, my tables, you are cramped!
And why are you standing uncovered?
And why are you sitting, don’t eat bread?
Either my honey is not boring, or is the owner not cheerful?
G) Chastushki
You cart, you cart
Where are you in a hurry?
On you, cart, you will sit
Are you coming back soon...
14

H) Lamentations.
 Kasyan from his childhood remembers his grandmother's lamentations about snakes, supposedly
found in a terrible urem forest near the village of Usvyaty, where they
lived and where the action of the story takes place: “Three
snakes: like one snake whoops, like a second snake creeps, like a third
spindle snake...”4 Images of snakes as magical, evil spirits in
Russian ideas have always been the essence of the incarnation of Satan.
I) Village mythology: after all, they lived “as if they were tied in a bag”. Germans
are presented to usvyattsy with hooves and helmets with horns, that is
creepy, devilish creatures clearly from the legion of the same
evil spirits from the Apocalypse: “They are not of our faith (colloquial), but maybe
and without any at all, therefore, it must (colloquial), and horns.
K) And how many proverbs, will accept and sayings about!
Proverbs and sayings
There is no gap from the broom
The end of the whole thing is the crown
You're only for the pie, and the devil is on the threshold
With a crumpled soul, they don’t go to this
Don't know don't talk
God will not give out the pig will not eat
Man does not live by profit alone
It would be baked, there will be cockroaches
We will dance for bread for salt, and for wine duck and a song
let's sing
Salt is the head of everything, without salt and living herbs
Stored for five, and the sixth is full
Death and war are not called forever
Speak, don't talk
Candle burnt to a halt
I was afraid of the sickle about the bodyak to break the teeth, not
Who said
author
Baba on
mowing
Chairman
Proshka
Chairman
Proshka
Grandfather
Selivan
Kasyan
Grandfather
Selivan
Grandfather
Selivan
Grandfather
Selivan
Grandfather
Selivan
Grandfather
Selivan
Grandfather
Selivan
Grandfather
Selivan
Grandfather
Chapter
1
2
3
4
4
5
7
7
7
7
7
7
7
8
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tasting ... And I tried, duck and wild grass.
Selivan
Early road, state house
Bread in the field soul in captivity
Joy together, trouble alone
Who gave from that take, who
hit that run
What is in the coffin, what is for the war - in a clean one is necessary.
You go to tear someone else's beard not at every hour
save yours too
Who is in the forest
who for firewood
Kasyan
Kasyan
Kasyan's wife
Natakha
Kasyan
Selivan
Chairman
Proshka
Grandfather
Selivan
Where jelly is, there the serviceman sat down, and where the pie is, there Grandfather lay down
Selivan
Matyukha
Not everything is one of us in the mustache yes in
snout, it will be him and past
9
12
13
15
16
16
17
17
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According to the meaning of sayings, it is clear how from the beginning of the story to the end there is
gradual, smooth "flow" from peaceful life to war. This is evident from
analysis of the meaning of sayings and numbers of chapters of the story. Russian man
thinks about it, delve into it for a long time, then concentrates and tunes in to
one goal: not just to go to war and die, but to defeat the enemy. IN
The last saying sounds faith in victory_ this is a calm, confident phrase.
The reader senses that this is exactly what will happen. It is figuratively perceived:
Russian soldier, behind whom are all Russian peasants (each previous
proverb) they are tested in labor, they love their land, therefore THEY
WIN!
3.
The poetry of the story
implies poetry, symbolism, dreams, the reception of reticence.
A) Outcome of the story. He is very poetic. His paintings are heartbreaking.
The artist knows that Kasyan is leaving forever, in the circumstances of his
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wires to war detailed in detail, accurate in mood and invisible
crying with tears for the departed.
The wife accompanies Kasyan with a “faded look, not finding what

cloves of a second.” Mother shoves Kasyan his umbilical cord - the last thing
connects Man with his family and with the Light. He says goodbye to the saints and
with the whole world, "where he dwelt and never felt crowded and bored," and
we see how beautiful this Light left by Man is: “From the top, from
its very top, there, behind, behind the same ridge, running
stained with restless bread, one could see a narrow, already blue
in the distance a strip of Usvyatsky Posad, not even the huts themselves, but only green
the illusory nature of the trees, and on the right, in the distance, against the background of the faded sky
with a raised finger (Old Slav.) turned white, trembled after Mary (dialect.)
a bell tower lost in the fields. And the Ostomel urema was also visible and
distant beyond the river forest, blue as a dream, behind which something else
glimpsed, what a firmament. “The tops were still felt from afar, popped a long
stubborn drag that made the road snake (metaphor). Fields still
clung to the sides (metaphor) - then simply (colloquial) in a gray ovary,
as if in hoarfrost, then a low barley, but now they came out, and wild reigned
freemen, lined with tufted fescue and vershkovy wormwood, among
of which, red-spotted, clusters of upland carnations starred.
The red-hot hillside rang like a filly, blew a sultry hop
rotting sun-loving herbs. The dusty backs of the men pierced
salty mokryad, reeked of tart thickened sweat, but they all stomped
hot, even through the shoes of dust accumulated in a fur coat in the ruts,
looked impatiently at the ridge, where he dozed in eternal oblivion
a solitary mound with a truncated top. And when before him it was completely
at hand, took off from there and flew, like a black outstretched
shirt, hardened eagle mound."
The “immutability of life” has been violated, and although “Kasyan did not want anything else,
except how to live and die on this earth, native and familiar to
every bylka”, he is destined to go through the “favorite road” along this
Light that cannot be "interpreted" and of which we do not know,
Why is it given to Man?
All full-blooded, simple, earthly life descends from the earth, and he
the former Man, naturally mature, "ripe", strong and whole - oh
which the artist Yevgeny Nosov told with such charm.
... B) The gathering of the Usvyat peasants is symbolic, it looks like a “secret
supper "at grandfather Selivan" He lived as a bean (colloquial), in his old
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invisibly and mysteriously hoots a fish that suddenly jumped up, then meekly
is lined in the evening before sleep with the purest mirror, absorbing in
the whole universe itself - from a low-leaning reed of reeds to
frozen drowsy cirrus clouds; when the night is far away
you can hear how it breaks from the tray in a polyphonic ring and splash
on the mill wheel."
 “And all this - under the lapwing call, under the lamb
snipes falling from the sky, which were not immediately
to see in the steamy misty blue.”13
 A letter to Kasyan from brother Nikifor, thinking, “carefully put it behind
Nikola (an icon in the house of Kasyan), who for centuries kept all their
(common speech) accounts with this worldly life.
 A
alarming, “who knows where the lonely cloud that came from, as if white
lagging goose, and the shadow from him, crossing the valley, fleetingly
darkened now light-whitened huts, now sparkles of water, now grain fields on
hills.”8
 In the brightest circle of the sky, he suddenly for a few moments,
like an otherworldly vision, grabbed with his eyes a huge winged
bomber body. The plane was not flying very high, we could see
even all of its four motors winding a whirlwind on the propellers
lunar web, flew without lights, as if blind, and it seemed to him
hard, unable to bear this black blind immensity of his - so he
strained and hard roared with all his inflamed guts ” arises
a feeling of horror before the machine power that contains death.
 The wife accompanies Kasyan with a “faded look, not finding what
to say how to stop the inexorable time”, but “in the barely holding
forced silence, the wall clocks of the lame, unjustly sorted out
cloves of a second.”
 “From the ridge, from its very top, there, behind, behind the same ridge,
quickly stained with restless bread, one could see a narrow, already
a strip of Usvyatsky Posad, blued in the distance, not even the huts themselves, but
only the green illusory nature of the trees, and on the right, in the distance, against the background
of the sky with a raised finger turned white, trembled after Mary
a bell tower lost in the fields.
 Violated "immutability of life"
B) Reception of inconsistency:
 Kasyan and the Usvyattsy who leave with him will not return back. With them
say goodbye in earnest, and Alexei defender, Kasyanshlemosets, and his
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brother Nicephorus the Victorious and even Athos - not afraid of death -
no one will return, everyone will die cleanly. How much will it take
pages of the story! Like an ominous sign of non-return almost before
every house has a hole dug: the writer explains it prosaically -
they wanted to put poles under the radio, but they did not have time for the war.

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Chapter V. On the role of language in modern life.
What has the modern Russian language become today as a collection of words?
Garbage bin? Filter? Free flow?
What is language? A language is a certain sum of people who speak it. IN
in a certain sense it is a chaotic thing, but it is possible to predict: it has
some word has a chance of success or does not. The word has a chance to live if
there is a meaning in it, a certain idea. This word must defeat its competitors,
who want to take the same place. There is also a fashion for words, which is
flares up, then subsides.
Previously, the language "recruited" words from folk speech. Writer
dried the words of peasants, workers, philistines, trading people and issued
outside. Folk speech now almost does not exist, like the village itself,
which was the origin of this speech. Today speech is replenished from the youth
environment. But how high quality it is, because behind them there is no this folk
layer and deep culture, which was originally in the peasant environment.
There was a trend in literature when authors worked with self-taught
word. It is impossible to imagine the prose of E. Nosov without this oversaturated
solution of very fragrant, pungent-smelling folk words. Is there in
modern young patriotic literature is such a trend? If
the base, folk, village, peasant, left, then the word also left. Such
Unfortunately, the word is no longer available. There are anglicized words that can
decorate speech and turn into purely Russian words (compaste,
street dance...).
IN AND. Dahl said: “We do not anathematize foreign word. Speech
hero is a separate phenomenon, she, like a mirror, should reflect
surrounding reality."
The author's words turn the reader into another world, it rings so
reality, the verbal series shakes you so much that you understand
how great it is. The story of Evgeny Nosov "Usvyatsky helmet-bearers" as
melting pot of the vernacular.
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Conclusion.
Great philological culture of the writer, deep comprehension
foundations of the national peasant character and their own life
experience gained at the front and in the post-war years allowed
E.I. Nosov to form a special approach to the artistic image
Great Patriotic War.
In ancient Russian literature, the main defender of his native land
is a peasant plowman, a hard worker, endowed with high spiritual
qualities that help him win - this tradition is the basis of
the story of E.I. Nosov.
The spiritual traditions of the Russian village played a decisive role in
upbringing and formation of the inhabitants of Usvyat, representing the great
Russian nation - the people who defeated fascism.
Using the techniques of ornamental
prose, the writer vividly and convincingly revealed the origins of folk heroism,
showed Russian national mentality in all its grandeur and beauty.
The artist of a rare and subtle gift Yevgeny Nosov hugged the heroes
his story with all his heart, he exalted each of them to the Russian folk
word.
Small in volume, but unusually capacious in content, almost
epic, "heroic", story by E.I. Nosov "Usvyatsky helmet-bearers"
will remain a monument to the Russian peasantry, which has become that folk
an army that stopped the enemy and hoisted the flag of Victory over the Reichstag.
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Sources.
1. Nosov E.I., Usvyatsky helmet-bearers. - Petrozavodsk: Karelia, 1986.
2. Baskevich I., Usvyatsky helmet-bearers. // Kursk truth. - 1977. - 13
October.
3. Brykina., The role of symbolic images in the disclosure of the Russian national
character in the story of E.I. Nosov "Usvyatsky helmet-bearers". Little known
pages and new concepts of Russian literature of the XX century. - M., 2003.
4. Eskov M.N. Memories of Evgeny Nosov: on the occasion of his 80th birthday
writer E.I. Nosova / M.N. Eskov / / MOSCOW.2005. No. 1.S.
5. Kedrovsky A., About the prose of E.I. Nosov in the 1990s. Kursk Notebooks: Kursk
and Kuryans through the eyes of scientists. − Kursk, 1998.
6. Konorev L. From the top of the ancient mound: from the memories of Eugene
Nosove / L. Konorev / / OUR CONTEMPORARY. 2003. No. 6. S. 272277.
7. Likhachev D.S. Village prose: Fedor Abramov, Viktor Astafiev,
Vladimir Tendryakov, Evgeny Nosov, Boris Ekimov/; Comp. P.V.Basinsky.
M.: Slovo, 2000.597c. In overhead: Int " open society", Megaproject
"Pushkinskaya bka".
8. Chalmaev V.A. Through the fire of sorrows: "quiet" epic by Evgeny Nosov /
V.A.Chalmaev// LITERATURE IN SCHOOL.1995.№ 3.S.3541.
9. Chemodurov V. How you live is how you write / V. Chemodurov / / RUSSIAN
GAZETA.2001.26 Apr.S.4.
10. Site materials:
www.openclass.ru
www.ped-sover.ru
www.proshlu.ru
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