(an excerpt from V. Astafiev's story "The Last Bow".)
Grade 9
Teacher: Aksenova L.M.
Linguistic analysis of the text.
The purpose of the lesson:
implementation of self-educational activity when working on linguistic analysis of the text.
2) The development of logical thinking, self-educational activity, independent work with tables, reference material, the formation of correct literary speech, the formulation of one's own thoughts in the form of a review, review, essay.
Raising a sense of gratitude to the people who raised you, about the ability to make the right choice in a difficult life situation.
Methods and techniques:
individual sessions.
front poll.
Working with tables.
Working with reference material.
Expressive reading of the text.
Equipment:
text.
Memo "Linguistic text analysis".
Table “Descriptive and expressive means of the language.
Reminder for essay writing.
Information cards.
Text analysis plan. Expressive reading of the text.
Determine the topic of the text.
What is the main idea of the text?
Can this passage be called a text? Justify your answer. (this is a text, because the sentences are interconnected in meaning, the statement is compositionally completed. The text is several sentences connected into a whole by a topic and the main idea, the statement is compositionally completed).
Text type.
Speech style.
Offer link type. (the sentences are interconnected by a parallel link, because each next sentence is built while maintaining the sequence of the location of the main members of the sentence.
I made my way behind...
There was no paint left on the door or on the porch.
Grandma was sitting.
highlight micro-themes, make a plan.
Specify the stylistic means used.
Name the features of the construction of the text. (his composition).
During the classes.
1) The word of the teacher.
Guys, today we have a lesson - a creative laboratory, where we will continue to develop the skills of linguistic analysis of the text, we will work on the formation of correct literary and written speech and the design of our own thoughts in the form of reviews, reviews and essays.
So, before you is a text - an excerpt from the story of V. Astafyev "The Last Bow".
Listen carefully to the text.
Expressive reading of the text.
Now let's turn to the text analysis plan.
So. Determine the theme of the text "The Last Bow."
What is the main idea of the text or the idea of the text.
(We are indebted to those who raised us, loved us, lived for us, we must carefully and attentively treat them, and, of course, at the last minute, when they leave this world forever, by all means must be near ).
Can this passage be called a text?
(this is a text, because the sentences are connected in meaning and grammatically, the statement is compositionally complete).
3 types of speech:
Description
Narration
reasoning
Remember how many types of speech there are in Russian.
What type prevails in this text? (narration).
What is the style of the text?
(artistic style with elements of conversational style).
Why does the writer use elements of conversational style?
(to show a more vivid and realistic image of the grandmother).
6) Let's highlight the micro-themes of the text and make a plan.
1) Meet first.
Name the keywords: behind, to our house, I wanted to meet, first, grandmother, on the street.
Teacher: The vocabulary of this micro-topic is neutral, but there is one word which tells the reader that we are talking about the inhabitants of the village? What is this word? (backwards)
How do you understand its lexical meaning?
(i.e. through vegetable gardens).
What vocabulary does it refer to? (to colloquial, vernacular
What is the main focus of the hero?
2) At the entrance to the house?
(door, paint, porch, floorboards, door frame)
What is the syntax of this microtheme? (nominative sentences are used in the paragraph. The syntax is not accidental. It conveys a state of intense expectation).
3) Everything is as before.
The sentence begins with the word grandmother:
And immediately the text sounded evaluative vocabulary.
A diminutive - affectionate suffix indicates the attitude of the author.
A dimly lit kitchen window.
What is a means of expression?
(at the same time, it is also an epithet, because it gives a colorful, bright, figurative name of the object and personification, since the property of a living object is attributed to a text object).
Teacher: and we very visually imagine how this window, like his old mistress, looking out if anyone came up to the house ...
What is an epithet?
What is personification?
The storm has passed over the earth! - a rhetorical exclamation.
Exclamation.
Mixed and confused...
What is it called (gradation) What is gradation? Give a definition.
And again, the text contains evaluative vocabulary, bookish, emotionally sublime. The human race.
And fascism - and next to it is an evaluative verb:dead - rude vernacular, because he didn’t deserve any other word.
Words with a diminutive suffix. Locker, speckled curtain.
Lexical repetition. What is lexical repetition?
The usual place, the usual business in the hands.
All linguistic means of this micro-theme are aimed at confirming the thought. Everything in the world changes, the father's house and the feeling of love for it remain unchanged.
"Meeting"
Sound recording.
What.
I'll cross, I'm scared. The words are written as they are pronounced by the grandmother, the woman is probably illiterate
Rhetorical exclamation - what small hands!
Lexical repetition.
I prayed. Everything is said by this word: both love and experience for the grandson, so that everything is fine with him.
Comparison. What is a comparison?
Skin that onion peel- metaphor.
- What is a metaphor?
decrepit cheek - an epithet.
Appeal - father.
Waiting is vernacular.
Syntax.
Summing up life is conveyed by short concise sentences, and the ellipsis indicates that there is still much to be said, but there is no strength. Behind the ellipsis are not words, but feelings and emotions.
Wet her hands with tears, not just cry, but wet many tears, because there is a lot of love, but a premonition of eternal separation, which is not far off causes endless tears.
5) Message about the death of the grandmother.
This micro-topic already has neutral vocabulary. But the syntax is tense, screaming.
6) “Lives in the heart of wine. »
7) Syntax.
The sentences are simple, short, like a blow of a judge's gavel. Like a sentence.
8) Writing an essay.
* Read the text aloud.
* work with memo.
* the form of your written statement, the genre of creative work must be chosen in accordance with the inner need, worldview and attitude. And the genre originality of speech opens up a wide variety of possibilities, and you can write using the genres of letters, pages from a diary, a travel essay, and perhaps turn to an essay.
Let's remember and give a brief description of the main genres.
Review - a general assessment of the works, an expression of one's own attitude to what was read, viewed, an emotional assessment of the personal perception of the work, an impression about it with justification: what caused these feelings and experiences in the work.
Review - analysis, parsing, text evaluation, genre of criticism, literary and newspaper-magazine journalism.
The task of the reviewer is to give an analysis of the work, to express his own thoughts and feelings that arose while reading the text, to talk about his impressions - but on the basis of a detailed analysis of the text.
Therefore, the reviewer does not retell in detail the content of what he read, but carefully substantiates his opinion with a deep and reasoned analysis.
The reviewer must see the creative individuality - the author, the color of the reviewed work.
The relationship between the reviewer and the author is a creative dialogue with an equal arrangement of the parties. The advantage of the author is the detailed meaning of the work. The advantage of the reviewer is a high level of theoretical training, analytical skills, language culture.
For example:
Feature article - a prose work that covers a small part of reality, but in general, essays refer to any spheres of human life. In this genre, the author's beginning is highly subjective. The essayist himself leads the narration, which is driven by his thought, his opinion. It brings together essay and essay. However, essays often ______________
Descriptions, the role of which in the essay is not so significant.
An essay can be journalistic, lyrical, documentary, etc. in style.
Viktor Petrovich Astafiev is a famous Russian writer, prose writer, who lived from 1924 to 2001. The main theme in his work was the preservation of the national dignity of the Russian people. Famous works of Astafiev: “Starfall”, “Theft”, “War is thundering somewhere”, “Shepherdess and Shepherd”, “Tsar Fish”, “Sighted Staff”, “Sad Detective”, “Merry Soldier” and “Last Bow ”, which, in fact, will be discussed further. In everything that he described, one felt love and longing for the past, for his native village, for those people, for that nature, in a word, for the Motherland. Astafiev's works also told about the war, which ordinary village people saw with their own eyes.
Astafiev, "The Last Bow". Analysis
Astafiev devoted many of his works to the theme of the village, as well as to the theme of war, and The Last Bow is one of them. It is written in the form of a long story, composed of separate stories, of a biographical nature, where Viktor Petrovich Astafyev described his childhood and life. These memories are not built in a sequential chain, they are captured in separate episodes. However, it is difficult to call this book a collection of short stories, since everything there is united by one theme.
Viktor Astafiev dedicates "The Last Bow" to the Motherland in his own understanding. This is his village and native land with wild nature, harsh climate, powerful Yenisei, beautiful mountains and dense taiga. And he describes all this in a very original and touching way, in fact, this is what the book is about. Astafiev created "The Last Bow" as a landmark work, which addresses the problems of ordinary people of more than one generation in very difficult critical periods.
Plot
The protagonist Vitya Potylitsyn is an orphan boy raised by his grandmother. His father drank a lot and walked, eventually left his family and left for the city. And Viti's mother drowned in the Yenisei. The life of a boy, in principle, did not differ from the life of other village children. He helped the elders with the housework, went for mushrooms and berries, went fishing, well, he had fun, like all his peers. So you can start a summary. Astafiev's “last bow”, I must say, embodied in Katerina Petrovna a collective image of Russian grandmothers, in whom everything is primordially native, hereditary, forever given. The author does not embellish anything in it, he makes her a little formidable, grouchy, with a constant desire to know everything first and dispose of everything at his own discretion. In a word, "general in a skirt." She loves everyone, takes care of everyone, wants to be useful to everyone.
She constantly worries and suffers for her children, then for her grandchildren, because of this, anger and tears alternately break out. But if the grandmother begins to talk about life, it turns out that there were no adversities for her at all. The children were always happy. Even when they were sick, she skillfully treated them with various decoctions and roots. And none of them died, well, isn't that happiness? Once, on arable land, she dislocated her arm and immediately set it back, but she could have remained a kosoruchka, but she didn’t, and this is also a joy.
This is the common feature of Russian grandmothers. And lives in this image something fertile for life, native, lullaby and life-giving.
Twist in fate
Then it becomes not as fun as the short summary describes the village life of the protagonist at the beginning. Astafiev's "last bow" continues with the fact that Vitka suddenly has an unkind streak in life. Since there was no school in the village, he was sent to the city to his father and stepmother. And here Astafiev Viktor Petrovich recalls his torment, exile, hunger, orphanhood and homelessness.
How could Vitka Potylitsyn then realize something or blame someone for his misfortunes? He lived as best he could, escaping from death, and even managed in some moments. The author here pities not only himself, but all the then younger generation, who were forced to survive in suffering.
Vitka later realized that he got out of all this only thanks to the saving prayers of his grandmother, who at a distance felt his pain and loneliness with all her heart. She also softened his soul, teaching patience, forgiveness and the ability to see even a small grain of goodness in the black haze and be grateful for it.
School of survival
In the post-revolutionary period, Siberian villages were dispossessed. Ruin was all around. Thousands of families turned out to be homeless, many were driven to hard labor. Having moved to his father and stepmother, who lived on casual income and drank a lot, Vitka immediately realizes that no one needs him. Soon he experiences conflicts at school, the betrayal of his father and the oblivion of relatives. This is the summary. Astafiev’s “Last bow” goes on to say that after the village and the grandmother’s house, where, perhaps, there was no prosperity, but comfort and love always reigned, the boy finds himself in a world of loneliness and heartlessness. He becomes rude, and his actions are cruel, but still, his grandmother's upbringing and love of books will later bear fruit.
In the meantime, an orphanage awaits him, and this is just a brief summary. Astafyev's "Last Bow" illustrates in great detail all the hardships of the life of a poor teenager, including his studies at a factory course school, going to war and, finally, returning.
Return
After the war, Victor immediately went to the village to his grandmother. He really wanted to meet her, because she became for him the only and most dear person in the whole world. He walked through the vegetable gardens, catching burdocks, his heart clenched strongly in his chest with excitement. Victor made his way to the bathhouse, on which the roof had already collapsed, everything had long been without the master's attention, and then he saw a small pile of firewood under the kitchen window. This indicated that someone was living in the house.
Before entering the hut, he suddenly stopped. Victor's throat went dry. Gathering his courage, the guy quietly, timidly, literally on tiptoe, went into his hut and saw how his grandmother, just like in the old days, was sitting on a bench near the window and winding threads into a ball.
Minutes of oblivion
The protagonist thought to himself that during this time a whole storm flew over the whole world, millions of human destinies got mixed up, there was a deadly struggle against hated fascism, new states were formed, and here everything is as always, as if time had stopped. The same mottled calico curtain, a neat wooden wall cabinet, cast-iron stoves, etc. Only it no longer smelled of the usual cow swill, boiled potatoes and sauerkraut.
Grandmother Ekaterina Petrovna, seeing her long-awaited grandson, was very happy and asked him to come closer to hug and cross him. Her voice remained the same kind and gentle, as if the grandson did not return from the war, but from fishing or from the forest, where he could linger with his grandfather.
Long-awaited meeting
A soldier returning from the war thought that perhaps his grandmother might not recognize him, but that was not the case. Seeing him, the old woman wanted to get up abruptly, but her weakened legs did not allow her to do this, and she began to hold her hands to the table.
Grandma is very old. However, she was very glad to see her beloved grandson. And I was glad that, finally, I waited. She looked at him for a long time and could not believe her eyes. And then she let slip that she prayed for him day and night, and in order to meet her beloved granddaughter, she lived. Only now, having waited for him, grandmother could die in peace. She was already 86 years old, so she asked her grandson to come to her funeral.
Oppressive melancholy
That's all the summary. Astafiev's "last bow" ends with Viktor leaving to work in the Urals. The hero received a telegram about the death of his grandmother, but he was not released from work, citing that at that time they were only allowed to go to the funeral of his father or mother. The management did not want to know that his grandmother replaced both of his parents. Viktor Petrovich never went to the funeral, which he later regretted very much all his life. He thought that if this happened now, he would simply run away or crawl from the Urals to Siberia just to close her eyes. So all the time this guilt lived in him, quiet, oppressive, eternal. However, he understood that his grandmother forgave him, because she loved her grandson very much.
Moral lessons of V.P. Astafiev "The Last Bow"
Material for a literature lesson in grade 11
Mochalina S.L. MOU "Secondary School No. 162", Omsk
Reference
V.P. Astafiev (1924-2001) - prose writer. Born in the village of Ovsyanka, Krasnoyarsk Territory, in a family of peasants. From the age of seven, Victor was brought up by his maternal grandfather and grandmother: his father went to prison, and his mother drowned in the river. In the spring of 1942, he volunteered for the front and remained a private until the end of the Great Patriotic War. He participated in the battles on the Kursk Bulge, liberated Ukraine from the Nazis, in 1944 he was seriously wounded in Poland. He was awarded the Order of the Red Star and the medal "For Courage".
After the war, he moved to the hometown of his wife Chusova. He worked as a locksmith, auxiliary worker, station attendant, storekeeper. At the same time, he attended a literary circle at the newspaper Chusovskoy Rabochiy, where in 1951 his first story, Civil Man, was published. In 1958 he was admitted to the Writers' Union of the USSR.
Author of numerous works: "The snow is melting", "Theft", "Tsar fish", "Zatesi", "Cursed and killed", "The shepherd and the shepherdess", "The sad detective", "Merry soldier". In 1989 he was awarded the title of Hero of Socialist Labor. In 1991 he was a laureate of the State Prize of the USSR, the State Prize of the Russian Federation in 1995.
V. Astafiev worked for twenty years on his autobiographical book “The Last Bow” (1958-19778). It all consists of separate stories written at different times, the hero of which is himself, Vitya Potylitsyn (Astafiev changes his last name to grandmother). Written in the first person, the story turns into an honest and impartial story about a difficult, hungry, but such a wonderful village childhood, about the difficult development of a young inexperienced soul, about the people who helped this development, educating the boy's truthfulness, diligence, love for his native land. This book is really a nod to the distant and memorable years of childhood, youth, gratitude to the most diverse people with whom Vitya's harsh life brought him together: strong and weak, good and evil, cheerful and gloomy, sincere and indifferent, honest and swindling ... A whole string of destinies and characters will pass before the reader's eyes, and they are all memorable, vivid, even if these are uncomplicated, broken fates. All this together: time, people, nature - and create the image of the motherland. The theme of the motherland unites all the stories of Astafiev's story.
Of course, with the modern dislike of young people for reading serious literature, with a terrifying limitation in teaching hours on this vital subject, I can advise my colleagues to focus only on some stories of V.P. Astafiev’s deep book, but analyze them in detail, so that even from such a brief , alas, from a truncated acquaintance with the prose of the classic, the guys took out simple, but important moral lessons for a thinking person.
Let's start with the most famous story"Horse with a pink mane"
Why does Astafiev start his book from childhood? The author believed that everything in a person is laid precisely from him, from there the whole essence of his nature, its fundamental principle. The story turns us to the childhood of the main character, the orphan boy Vitya Potylitsyn, who is being raised by grandmother Katerina Petrovna and grandfather Ilya Efgrafovich, tireless village workers.
Vitya is not like other village guys. How do they characterize his memories of the treasured gingerbread with a horse? It's delicious for everyone and that's it. For Viti - alive, a real miracle. The boy even feels the horse kicking his hooves in the stomach under his shirt. Of course, Vitya lives in poverty and hardship, the gingerbread is the limit of the cherished childhood desires, but the child's fantasies speak of his developed artistic imagination.
What is the life of the Levontiev family in the story?
Different people lived in Siberian villages in the 20-30s. There were many self-sacrificing honest hard workers, but there were also many idlers who were waiting for someone to earn their living for them. Astafiev does not embellish anything. These people include the former sea “wanderer” Levontius, who justifies his mismanagement with love for freedom. The house of Levontius and his wife does not make a favorable impression at all: everything has the stamp of unkemptness, ruin. A poor life gives rise to bitterness, rudeness, drunkenness. Quarrels and drunken brawls have become the norm here. The eternally hungry Levontiev guys are left to their own devices, loitering around doing nothing, acting outrageously. Adults are not accustomed to work - children grow up as loafers.
What does Vita see their life like?
Vitya is a child and does not notice the vile aspects of adult life. For him, Uncle Levonty is an unusual person who can turn boring everyday life into a wonderful holiday. It happened on paydays, when Levontiy used all his money to buy sweets and gingerbread and filled the table with them, to the delight of the hungry children. The usual end of a family "holiday" is screams, a fight and a pogrom of the house, from which the children and wife of Levonti scatter in all directions. The horror of this semi-wild, thoughtless life one day cannot yet be realized by Vitya, but she is deeply condemned by her strict grandmother, nicknamed the "general" in the village.
Grandmother Katerina Petrovna sends Vitya to the hill for strawberries. For Vitya, this is a responsible task: you can sell strawberries in the city, buy a wonderful gingerbread. For the Levontievskys - idleness.
How does the Levontiev "horde" behave on the way to the ridge?
Children quarrel, yell, fight, throw dishes at each other. They jumped into someone else's garden, pulled onions, chewed, threw them away - they were not accustomed to anything, they do not respect anyone's work ...
And how does picking berries characterize children?
The Levontievskys are not familiar with honesty and diligence, they are cunning, frivolous, irresponsible. Vitya, on the other hand, was accustomed by his grandmother to truthfulness and responsibility, for which he becomes the object of malicious ridicule by the eldest son of Levontius, Sanka. Why does honest Vitya agree to shake out the berries he has collected from the thuyask and eat them?
Of course, we understand that the boy falls under the bad influence of the impudent Sanka and does not find the strength to resist him. But was it so easy to fill the tuyasok with grass? Although Vitya is bragging, there is a struggle going on in his soul. It is not easy for him to give up what his grandmother taught. Sanka doesn't care, but Vitya is afraid of meeting Katerina Petrovna, who has left for the city. He can’t sleep: he is tormented by pangs of conscience, the boy feels sorry for his grandmother. He himself did not expect that it would be so easy to find himself in a world of deceit, selfishness, in which his friend calmly abides.
Viti's lie is revealed. Why did the grandmother still buy a gingerbread for her grandson with a horse?
It was a small lesson that the boy remembered.
Grandmother is wise and understands that Vitya was cowardly, but everyone has the right to make a mistake. Katerina Petrovna believes that her grandson will improve.
The story "Pestruha"
Will the guys be able to express their impressions of this poignant chapter of The Last Bow? After all, they, city children, do not know the birth of a calf from a cow, her milking, dawns over a quiet village river. The general impression is the same: as if we had been there, heard the sounds of the village, smelled, enjoyed the colors. The guys should understand that this is the power of real literature.
What a story? About the cow Pestrukha, who honestly gave all of herself to people. Can you say that about a cow? You can, if you know what a cow is in a large peasant family.
You understand this already from the first scenes of Astafiev's story. Why Katerina Petrovna and Ilya Efgrafovich do not sleep all night? Pied is about to calve, and the old people are worried about her. If a cow dies, the whole family is doomed to starvation and starvation. From her milk, “it will be possible to extract butter, insist sour cream, make yogurt, cottage cheese, frozen mugs of milk with a splinter in the middle of the boiled cream, sell in Krasnoyarsk to city people for the money earned in the market, buy fabrics for shirts and pants, scarves, half shawls , pencils and notebooks, gingerbread with a horse ... "
The cow is the basis of the well-being of the peasant family, from it the whole cycle of the village economy begins, and it is cemented by it. That is why there is such a reverent, almost loving attitude towards her in the house.
What other episodes illustrate this? Do you remember the name of the cow? “Mother”, “nurse”, “native”, “golden”, “daughter”, as if equalizing her with herself in family blood ties. When Pestrukha became very ill, having eaten a hornet's nest with grass, her grandmother prayed for her in front of the iconostasis, knowing full well that in difficult times one can rely on God and a cow, and certainly not on the village "party members".
After the birth of the heifer, the grandfather and grandmother take the children to visit the cow and admire her “child”, stroke her, pity her, calm her down - human relations are transferred to the animal. In the description of the heifer, the author deliberately uses metaphors, expressively colored words to convey feelings of love and pity for the animal: “red-haired head”, “legs with light, like toy hooves”, a flower blossomed on her forehead. Silent, admiring the cow's daughter, even the restless Levontievsky. So from an early age, a compassionate attitude towards the living was brought up in children, moral priorities were unobtrusively placed. They were never allowed into the place where the animal was slaughtered for meat, protected from the sight of blood and torment.
And with what warmth the author describes the time of the village evening! It is also related to the cow. Gracious silence descended everywhere: it was the mistresses who milked the cows that had returned from the herd. Milk rang on the pails, and hungry children stood nearby, waiting for their mug. With what importance the grandmother overflowed, milking Pestruha! Under her skillful hands, it turned into some kind of sacred rite.
But the tragic social upheavals of the 1920s and 1930s forcibly invade the calm, harmonious way of the rural world. The unpretentious peasant life-life is feverish. How is this reflected in the story?
The Ovsyansk peasants are “in disarray”: either they sit at meetings, or they get drunk at the mill. Some of them did not return after being summoned to the city, but ended up in prison. The Moloch of Stalinist repressions also affected a distant Siberian village, and this is only the beginning of a brazen, frenzied reprisal against the peasantry. Collectivization begins, cattle are socialized by force. From the meat of grandmother's beloved Pestrukha, they will cook cabbage soup and fry cutlets for a free school canteen ...
Village girls do not milk socialized cows, this is fraught with diseases. At home, parents would “give them a bonus” for this, but on a collective farm, a cow is not one’s own and someone else’s milk in it. Then why keep it?
Now the reason for the “rebellion” of grandfather Ilya becomes clear. Let's analyze this episode in class. The always hardworking and diligent grandfather began to think and one day he really rebelled: he got drunk with Levonti and did not go to open the gate for the cows that returned from the herd. They moaned indignantly and plaintively, and the young Motley bucked and ran into the forest. Only an accident saved her from a bear attack. Grandma Katerina, who has returned from her neighbors, rushes crying in search of a cow.
Let's ask the guys: how can you explain such an act of the grandfather?
It is a pity for him to give his cows to the collective farm, into other people's indifferent hands. This is not a protest against cows, but against those who break the centuries-old traditions of the peasant way of life: wean them from growing crops, raising livestock, taking care of the land, and being a reasonable owner on it. It is significant that in this scene the always accommodating and hardworking grandfather is likened to the village loafer Levontiy.
What, according to Astafiev, reconciles a person with such a difficult life in disarray?
This, of course, is nature, to which Vitya is so attentive and sensitive. It softens the sharpness of social contradictions and not only in this story. Alone with her, the boy calms down, harmony reigns in his soul: “... never, never again have I been so close to heaven, to God, as then, in those minutes of contact between the two bright halves of the day, and no secret has instilled in me such a stable calm." This is another important moral lesson of the story.
The story of "The Chipmunk on the Cross"
In it, we see the main character as a teenager. His life is not easy when his father, who has returned from prison, decides to take Vitya away from his grandmother.
Historical events interfere with human destinies and relationships. There is no more irony in this story, Astafiev writes with pain of soul about how a large and hardworking peasant family was ruined.
The new government, changes that made life worse for workers, and better for loafers, severe trials did not bypass Vitya's family either. Let the guys talk about the fate of his grandfather on his father's side.
In any private history, you need to see the scale.
Vitin's great-grandfather Yakov Maksimovich and grandfather Pavel Yakovlevich kept a mill in Ovsyanki. The village squalor spread a rumor that they hid gold in the logs of their larch house. Grandfather and great-grandfather were immediately dispossessed of kulaks, exiled to the north, to Igarka, where the great-grandfather, who had gone crazy with grief, died. A solid house was rolled out on a log, ruined, but no gold was found.
Vitin's father Pyotr Pavlovich asked the village council to give him at least the kitchen from the house. This was refused, it was decided to rebuild the house and give it under the collective farm rule.
The mill was also taken away, and there was no place to grind the grain. It was steamed in pots, the children had stomachaches.
We will ask you to evaluate all these "transformations" of the new Soviet village and explain the author's attitude towards them.
Bitterness, mockery, denunciation - this is his attitude to what is happening in his native village. All this is hidden behind such a seemingly impartial and dry manner of narration. Back then, as an immature teenager, he understood little. Students, of course, will say that it is difficult even to call everything that happened mismanagement. Before everyone's eyes, all human rights are being violated, the soil is being knocked out from under the feet of zealous owners, their life is worth nothing. Bawlers and loafers came to power, who only knew how to yell speeches at meetings, beat their chests with their fists and decide other people's destinies with one stroke of the pen. This is the grandmother's daughter-in-law, Aunt Tatyana. While the semi-literate collective-farm activist held a meeting at meetings (“Let's merge our enthusiasm with the anxious akiyan of the world proletariat!”), her children ran around the village hungry, the grandmother felt sorry for the children and fed them.
Since all these idlers had never kept their own farm, they could not manage the collective farm either: they did not know how and what to feed the socialized cattle, what land to use for arable land. No one listened to the advice of reasonable people, and soon everything in the village "went to rastapur." The arable lands were overgrown with weeds, the cattle were starving, and the zealous "Parteians", sending kulaks into exile, rushed to smash their seeders and mowers. Class hatred drowned out the last arguments of common sense.
What happened to the mill? They decided to launch it, but soon it turned into a hot spot for the Ovsyanka men. They came here to get drunk, then they fought, competed on belts, crushed rats and drove horses that were no longer their own to death.
It ended up that the drunken miller, Vitya's father, broke the mill. This was regarded as wrecking and gave him five years in the camps on the White Sea Canal.
Why did people behave so wildly? When answering this question, the guys will connect it with the policy of the new government, which is ruthlessly tearing the age-old ties between the peasant and the land, with the economy, which wean people to create. Knocked out of the usual rut, people degraded, lost their human appearance, did not see any meaning in their lives.
Of course, the writer is interested in studying the human characters that this dramatic time for Russia gave rise to. What human types are embodied in the characters of Vitya's parents?
Viti's mother, who died early, is a type of person - a righteous man, a hard worker. Quiet, timid, kind, unrequited, she worked in her father-in-law's house like a day laborer, hearing only dirty abuse in response. But the mother did not remember evil. When her father-in-law was exiled to the north, she walked around the empty house and prayed that God would return her relatives from a distant land.
When the mother went to prison to meet her husband, the boat in which she was sitting capsized and drowned in the unfortunate river, leaving Vitya an orphan. The mill fun of Vitya's careless parent indirectly ruined the poor woman. If only people thought about the consequences of their actions...
Father, Peter Pavlovich, is the complete opposite of his mother. A dancer, handsome, a broken reveler, he never liked to work, so all his life he was looking for "management positions." He returned from the White Sea Canal like a hero from the war. Proud, cheerful, festive, with a set of prison sayings. He soon remarried. The stepmother was young, bad-tempered, hysterical. She took a dislike to Vitya, slandered him to her father. Having heard about the huge earnings in the north, the father and his family, taking Vitya as well, moved there. I found a job on my own: I became a salesman in a vegetable stall. It seemed that the character of the rollicking Pyotr Pavlovich was given the type of a free, free, easy-going person. Will the guys agree with this characterization?
You can't be free from everything. Frivolity and carelessness of the father become synonymous with indifference to human existence in general. This is especially evident in relation to the son. In the north, Vitya lived with his grandfather Pavel, who taught him ice fishing. One day, a stern grandfather took pity on the order of his grandson and sent him to the kiosk to his father in the hope of his help. Father gave Vitya ... a ruble for sweets and sent him away. People like him are not interested in a measured working life, he is constantly drawn to adventures, but he does not understand that his wife died from his indefatigable desire to find himself in this life, his own son suffers.
How does Vitya's grandmother change in this chapter?
From a formidable "general" Katerina Petrovna turned into an unfortunate bent old woman. The grandfather dies, the hated son-in-law takes away the last thing that is dear - the grandson. Grandmother on her knees begs Vita's father not to take the boy away, but she is driven away without saying a kind word. Vitya is very sorry for the poor grandmother, but he is not able to change anything. So again, with apparent dispassion, the writer shows us amazing human heartlessness, so that we, his readers, learn the right lessons from what we read.
Before leaving secretly from his father, Vitya goes to his mother's grave, where he meets his grandmother. Katerina Petrovna notices a chipmunk on the grave cross of her daughter. According to some of her signs, she decides that this is an unkind sign, as if intuitively anticipating the sad fate of her beloved grandson. Her fears were justified: it was very difficult for Vitya to live in his new family, where no one needed him, he had to endure many difficult trials.
The book of V.P. Astafiev is wise, unusually deep and instructive, its moral lessons will be very useful in anyone's life. Let's ask the students, what did they learn from it, what did it teach?
Everyone has one way in life: to work, fill themselves with knowledge, be responsible for their actions and love their neighbors. It seems that everything is simple, but it is not so easy to walk this path with dignity, a person has to overcome many trials, but they must be endured without losing a human face. Astafyev's hero drank a lot in his lifetime, but he did not become embittered at people, he did not become an egoist who carelessly burns life. He passionately loves his grandfather, grandmother, who raised him as a morally healthy, whole person, but in his own way he loves both the unlucky father and the unkind Pavel Yakovlevich, because thanks to these people, far from tenderness and sentimentality, he, a teenager, learned life, learned to fight for himself gained work experience. You need to be able to be grateful, you should not harden your soul, in everyone with whom life has brought you, you need to find the good.
Yang Zheng
China, Nanjing
The image of the protagonist in the story of V.P. Astafiev "The Last Bow"
In the autobiographical book of V.P. Astafiev “The Last Bow”, the narration is conducted in two plans - the plan of the past (I) and the plan of the present (I2). From I to Z2 there is a path of spiritual development of the protagonist.
Key words: the image of "I"; two time plans; split and unity of personality.
The story in the stories "The Last Bow" was created by V.P. Astafiev during almost his entire creative life. The first chapters of the book were first written as independent stories. It should be noted that some of them, being good material for the lessons of "natural pedagogy" [Lanshchikov 1992: 6], are currently included in the school curriculum - "A horse with a pink mane", "A monk in new trousers", "A photograph on which I don't exist" and some. etc. Astafiev’s book is a story about his own childhood, that is, it can be put on a par with such autobiographical works of Russian classics as “Childhood”, “Boyhood”, “Youth” by L. N. Tolstoy, “Childhood”, “In People”, “My Universities” by M. Gorky. The narration in The Last Bow is in the 1st person. However, the role of the narrator in the story is ambiguous. In some cases, he entrusts the story to another person (as a hero-narrator), sometimes he himself acts as a witness and commentator on what is happening (as an author-narrator). Thus, there is a bifurcation of the subject of speech, and an “objective-subjective image is obtained, where objectivity comes from a real-life hero, and subjectivity comes from the author, from the choice and interpretation of the described episodes” [Boiko 1986: 9].
“In the texts of autobiographical works, a temporal perspective arises, the comparison of two time plans according to the “now - then” principle is actualized: I write about myself in the past and present ... My thought lives not only in the past (as a memory), but also in the present
Yang Zheng, Ph.D. Sciences, Senior Lecturer, Nanjing University, China. Email: [email protected]
schema (as awareness of oneself in time). The future may not exist at all, or it may be short-lived, schematic and fragmentary” [Nikolina 2002: 392]. And these two subjects - I: (Vitya Potylitsyn in the past, in childhood) and Yar (adult author Viktor Astafiev in the present) - represent an indissoluble unity. On the way from I: to Yar, the spiritual evolution of the character takes place; in the autobiographical prose about childhood, the hero and the author are merged into one.
The image of the adult "I" emerges primarily through the author's numerous digressions (lyrical and journalistic), where the narrator's attitude to reality is directly and clearly expressed. In this regard, the story “The Monk in New Pants” is of particular interest, where the own voices of the hero-narrator and the author-narrator are intertwined. The story begins in the present tense and is conducted by the boy Vitya as a character. He is entrusted with a certain job, for which he can "help out" money:
I was ordered to sort out potatoes ... The larger potatoes are selected for sale in the city. My grandmother promised to use the money she received to buy textiles and sew me new pants with a pocket.
Matter, or manufactory, is the name of the garment<...>grandmother bought.<.. .>No matter how much I lived in the world later, no matter how many pants I wore out, I never met matter with such a name.<...>There was a lot in childhood that did not meet again later and did not happen again, unfortunately.
R1 and R2 are clearly distinguished when the narrator evaluates and comprehends the behavior, experiences and thoughts of his past "I" from other "points of view". So, in the first story "A far and near fairy tale", the narrator describes the experiences of the protagonist, who heard the violin for the first time in his life:
I'm alone, alone, such a horror all around, and also music - a violin. A very, very lonely violin. And she doesn't threaten at all. Complains<.. .>The music flows quieter, more transparent, I hear, and my heart lets go<.. .>What did the music tell me about? About the convoy? About the dead mother? About a girl whose hand dries? What did she complain about? Whom did you get angry at? Why is it so anxious and bitter to me? Why feel sorry for yourself? And those out there are sorry for those who sleep soundly in the cemetery.
The cited passage of text formally belongs to the author-narrator, but in fact it shows the inner world of a little boy at the moment the music is playing, the narrative is filled with a clearly childish attitude, therefore Yag is the subject of speech of this passage. At the end of this story, the adult narrator (J2) after many years conveys his first childhood impressions of the music he heard, rethinks them:
Once, after I listened to the violin, I wanted to die from incomprehensible sadness and delight. Was stupid. Small was (hereinafter my italics. - Ya.Ch.). I saw so many deaths afterwards that there was no more hateful, accursed word for me than "death."
Here, L1 has become the object of thinking of L2, which evaluates its past "I" from a different temporal (already during the war) and spatial (already in some Polish city) distance. Thus, in the change of subjects of speech, the author's position is expressed in relation to the role of music in human life, and in general to the role of art in general.
As the protagonist grows older, the clear distinction between I: and I2 is gradually erased, and their voices converge. In other cases, they may
be so merged that it is impossible to separate them. For example, in the story “Without Shelter”, the maturing hero Vitya sometimes takes on the subjective, evaluative functions of the narrator:
Tishka taught me to smoke bulls picked up on the street. “Drinking wine, disfiguring people, stealing - I can already. It remains to learn how to smoke - and order!
This kind of self-assessment, riddled with bitterness and pain, is one of Astafiev's favorite devices in "The Last Bow" to express the attitude of Ya2 to Yag. Often an adult author looks at his "Alter ego" (another "I") with sympathy, love and even with a touch of irony. For example, in the same story: after the departure of Ndybakan, a comrade in trouble, Vitya was left alone again and, as if in despair, calls his friend:
Ndybakan, Ndybakan! Where are you? In
days of doubt, in days of painful reflections, you alone were my support and support!
Here, behind the light irony expressed in quoting Turgenev's famous lines, the author's sympathy for his hero is hidden, not so much for himself, but for all innocent children who early fell into the "crucible" of life. At one time, following the thought of Heine, Astafiev wrote that “if the world splits, the crack will first of all go through the fate of children” [Astafiev 1998: 613].
As a result of the bifurcation of I: and I2, a specific image of "I" is created in the autobiographical story. Unlike the hero-narrator (Vitya Potylitsyn), who is depicted in "acts", deeds, in communication with others, his double Viktor Astafiev, a thinking, feeling person, is focused largely on understanding life in general and the life of the Ovsyanka village in particular; he is turned to his inner world, his experiences and reflections, which is a kind of awareness of himself in time.
Depicting reality in different temporal and spatial coordinates, the author shows the changes in the Peasant Universe in its past and present.
schem, depicts the process of death of the "Peasant Atlantis". “An anticipation, a breath of death” is conveyed precisely through “elegiac intonation, through referring the brightest episodes to the past” [Goncharov 2003: 101-102]. At the same time, the author gives a clear preference to the past, speaks with pain about the tragic fate of his native village. So, in the endings of some stories, the author's narration deliberately reaches the present. For example, the story "The Legend of the Glass Krink" ends with the following words:
And I, an insane person, mourn all about some poor wounded capercaillie, about past times, about krinka, about berries, about the Yenisei, about Siberia - why and who needs this?
However, the image of the adult narrator (I2) in the story is not static, his feelings and thoughts undergo serious changes. The chapter “A Feast after the Victory”, to some extent concluding, summing up everything that was connected with the childhood, adolescence and youth of the hero, with the war, ends optimistically:
And in my heart, and if only mine, I thought at that moment, faith will cut into a deep mark: all evil has remained beyond the victorious spring, and we are waiting for meetings with only kind people, with only glorious deeds. May this holy naivete be forgiven me and all my brothers - we have exterminated evil so much that we had the right to believe: it is no longer left on earth.
But this is only an intermediate stage in the development of the adult "I", which becomes different in the final chapters of the story, written in the early 1990s. In the comments to The Last Bow, Astafiev wrote:
Not suddenly, not immediately, but I realized that I didn’t finish something in “Bow”, I “skewed” the book in the direction of complacency, and it turned out to be somewhat touching, although I didn’t consciously strive for this, but nevertheless I trimmed life, he sawed off sharp corners so that dear readers, primarily Soviet ones, would not cling to them with their pants and hurt their knees. But the life of the thirties did not consist of only cheerful children's toys and intricate games, including mine
life and life of people close to me. Thoughts, memories continued, the book continued in me.<.. .>The book left childhood further, into life, and moved along with it, with life.
Realizing this, Astafiev begins to “toughen up” what was previously written, in particular, the author rewrote “The Shepherd and the Shepherdess” several times, exaggerating. The same thing happens with individual chapters of The Last Bow. For example, in the story "A Photograph Where I'm Not", he added 5 pages about collectivization, dekulakization, while repeating a lot of what was written clearly and definitely back in the 1970s. in the story "The Chipmunk on the Cross", where, it would seem, the conclusion has already been summed up:
SHUMKINA E.N. - 2010
N. A. Ivanova, L. V. Lyapaeva - 2010
"Last bow"
“The Last Bow” is a landmark work in the work of V.P. Astafiev. It combines two main themes for the writer: rural and military. In the center of the autobiographical story is the fate of a boy who was left without a mother early and is raised by his grandmother.
Decency, reverent attitude to bread, neat
To money - all this, with tangible poverty and modesty, combined with diligence, helps the family survive even in the most difficult moments.
With love, V.P. Astafiev draws in the story pictures of children's pranks and fun, simple household conversations, everyday worries (among which the lion's share of time and effort is devoted to gardening, as well as simple peasant food). Even the first new trousers become a great joy for the boy, as they constantly alter them from junk.
In the figurative structure of the story, the image of the hero's grandmother is central. She is a respected person in the village. Her large working hands in the veins once again emphasize the hard work of the heroine. “In any case, not a word, but hands are the head of everything. You don't have to feel sorry for your hands. Hands, they look and look at everything, ”says the grandmother. The most ordinary things (cleaning the hut, a pie with cabbage) performed by a grandmother give people around them so much warmth and care that they are perceived as a holiday. In difficult years, an old sewing machine helps the family survive and have a piece of bread, on which the grandmother manages to sheathe half the village.
The most penetrating and poetic fragments of the story are devoted to Russian nature. The author notices the finest details of the landscape: the scraped roots of a tree, along which a plow tried to pass, flowers and berries, describes a picture of the confluence of two rivers (Manna and Yenisei), freezing on the Yenisei. The majestic Yenisei is one of the central images of the story. The whole life of people passes on its shore. And the panorama of this majestic river, and the taste of its icy water from childhood and for life is imprinted in the memory of every villager. In this very Yenisei, the mother of the protagonist once drowned. And many years later, on the pages of his autobiographical story, the writer courageously told the world about the last tragic minutes of her life.
V.P. Astafiev emphasizes the breadth of his native expanses. The writer often uses images of the sounding world in landscape sketches (the rustle of shavings, the rumble of carts, the sound of hooves, the song of a shepherd's pipe), conveys characteristic smells (forests, grass, rancid grain). The element of lyricism now and then invades the unhurried narrative: “And the fog spread over the meadow, and the grass was wet from it, the flowers of night blindness drooped down, daisies wrinkled their white eyelashes on yellow pupils.”
In these landscape sketches there are such poetic finds that can serve as a basis for naming individual fragments of the story as poems in prose. These are personifications (“The fogs were dying quietly over the river”), metaphors (“In the dewy grass, red strawberry lights lit up from the sun”), comparisons (“We broke through the fog that had settled in the decay with our heads and, floating up, wandered through it, as if along a soft, malleable water, slowly and silently").
In selfless admiration of the beauties of his native nature, the hero of the work sees, first of all, a moral support.
V.P. Astafiev emphasizes how pagan and Christian traditions are deeply rooted in the life of a simple Russian person. When the hero falls ill with malaria, the grandmother treats him with all the means available for that: these are herbs, and conspiracies for aspen, and prayers.
Through the childhood memories of the boy, a difficult era emerges, when there were no desks, no textbooks, no notebooks in schools. Only one primer and one red pencil for the whole first class. And in such difficult conditions, the teacher manages to conduct lessons.
Like every village writer, V.P. Astafiev does not ignore the topic of confrontation between the city and the countryside. It is especially intensified in famine years. The city was hospitable as long as it consumed rural produce. And with empty hands he met the peasants reluctantly. With pain V.P. Astafiev writes about how men and women with knapsacks carried things and gold to "Torgsina". Gradually, the boy's grandmother handed over there both knitted festive tablecloths, and clothes stored for the hour of death, and on the blackest day - the earrings of the boy's deceased mother (the last memento).
V.P. Astafiev creates colorful images of villagers in the story: Vasya the Pole, who plays the violin in the evenings, the folk craftsman Kesha, who makes sleds and collars, and others. It is in the village, where the whole life of a person passes before the eyes of fellow villagers, that every unsightly act, every wrong step is visible.
V.P. Astafiev emphasizes and sings of the humane principle in a person. For example, in the chapter “Geese in the polynya”, the writer tells how the guys, risking their lives, save the geese left during the freeze-up on the Yenisei in the polynya. For the boys, this is not just another childish desperate trick, but a small feat, a test of humanity. And although the further fate of the geese was still sad (some were poisoned by dogs, others were eaten by fellow villagers in times of famine), the guys still passed the test for courage and a caring heart with honor.
Picking berries, children learn patience and accuracy. “Grandma said: the main thing in berries is to close the bottom of the vessel,” notes V.P. Astafiev. In a simple life with its simple joys (fishing, bast shoes, ordinary village food from his own garden, walks in the forest) V.P. Astafiev sees the happiest and most organic ideal of human existence on earth.
V.P. Astafiev argues that a person should not feel like an orphan in his homeland. He also teaches a philosophical attitude to the change of generations on earth. However, the writer emphasizes that people need to carefully communicate with each other, because each person is inimitable and unique. The work "The Last Bow" thus carries a life-affirming pathos. One of the key scenes of the story is the scene in which the boy Vitya plants a larch tree with his grandmother. The hero thinks that the tree will soon grow, be big and beautiful, and bring a lot of joy to the birds, the sun, people, and the river.
