FORTY
Forties, fatal,
Military and frontline,
Where are the funeral notices?
And echelon knocking.
Rolled rails hum.
Spacious. Cold. High.
And fire victims, fire victims
They roam from west to east...
And this is me at the stop,
In his dirty earflaps,
Where the asterisk is not statutory,
And cut from a can.
Yes, this is me in this world,
Thin, cheerful and perky.
And I have tobacco in my pouch,
And I have a stacked mouthpiece.
And I'm joking around with the girl,
And I limp more than necessary.
And I break the solder in two,
And I understand everything in the world.
How it was! What a coincidence...
War, trouble, dream and youth!
And it all sunk into me
And only then did it awaken within me! .
Forties, fatal,
Lead, gunpowder! .
The war is sweeping across Russia,
And we are so young!
Questions:
1. What moods permeate D. Samoilov’s poem? How does the author's intonation change along with the mood?
2. Pay attention to the abundance of epithets in the first quatrain. Is it possible to understand the emotional mood of the author and the theme of the poem if we read aloud only the epithets of this quatrain?
3. Why do you think there are so many words denoting space in the second quatrain (“spacious”, “high”, “from west to east”)?
4. With what feeling does the young poet remember himself twenty years later?
5. Ask your loved ones to tell you about poems and songs dedicated to the Great Patriotic War.
1.What is the meaning of the term “skaz”?
2.What are the signs of P.P. Bazhov's "Stone Flower" can be classified as a tale?
3.What made Master Prokopich famous?
4. Why were the kids afraid to get trained by him?
6. Why did the boy take root with the master? What united them?
7.What character trait helped Dagilka comprehend the secrets of malachite craftsmanship?
8.What did he see as the beauty of the stone?
9. Tell us about Danilushka’s meeting with the Mistress of the Copper Mountain. What does the Mistress represent?
10.What rituals does the author describe and how do they help convey the hero’s state of mind?
Fairy tale:
STONE FLOWERMining master.
The river of times in its rush
Takes away all people's affairs
And drowns in the abyss of oblivion
Nations, kingdoms and kings.
And if anything remains
Through the sounds of the lyre and trumpet,
Then it will be devoured by the mouth of eternity
And the common fate will not go away.
1. Which lyricism does the work belong to?
2. What questions does the author raise? What is he talking about?
3. The associative plane of perception of the work (associations of the philosophical, abstract plan, reminiscence - an element of the artistic system, which consists in the use of a general structure, individual elements or motifs of previously known works of art on the same (or similar) topic; a vague memory, as well as a phenomenon suggestive to remember, juxtapose with something, echo)
4. The mood of the lyrical hero.
5. Chronotope. Analyze the temporal space of the verse (pay attention to the grammatical organization of the work - temporal categories). Compare the images of time and the images of eternity. Subtext of the work.
6. Analysis of linguistic means: images - symbols, metaphors.
7. What tonality is determined by the phonetic organization of the verse?
8. What does poetry make you think about?
Features of the image of the narrator in an epic work
Tale- this is a narrative with an emphasis on oral speech (from the word “tell”), based on folk traditions and legends, close to them in form, which contains sketches of folk life and customs. The genre of the tale presupposes a storyteller close to the people, a person with a special character and style of speech.
As a genre of Russian literature, the skaz is defined by the Literary Encyclopedic Dictionary as “ a special type of narration, focused on modern living, sharply different from the author’s, monologue speech of a narrator who comes from some environment exotic for the reader (everyday, national, folk)» .
Noting the originality of the tale as a literary genre, P.P. Bazhov wrote: “ What the fairy tale tells was treated in advance as something that occupied, entertained, and taught the younger ones. But the tale was treated differently, in the tale there are elements of real life, history... It is based on a true incident, and this closeness to the truth distinguishes the tale from what is in the popular understanding a fairy tale».
In the linguistic-stylistic aspect, the tale was developed in the works of V.V. Vinogradova, B.M. Eikhenbaum and other researchers.
A deep approach to the problem of skaz is characteristic of Academician V.V. Vinogradov, who defines the tale form of narration as follows: “ A tale is a unique literary and artistic orientation towards an oral monologue of a narrative type; it is an artistic imitation of monologue speech, which embodies the narrative plot, as if constructed in the order of its direct speaking» .
Thus, the interpretation of the tale in the linguistic-stylistic aspect mainly comes down to two points of view. One of them comes from the fact that in front of us “ orientation to the narrator's oral speech", the other is based on the fact that " in most cases, a tale is, first of all, an attitude towards someone else’s speech, and from here, as a consequence,-for oral speech» .
The verb “say” belongs to the category of one of the most ancient words in the Russian language. For a long time it has performed “a double function: a direct, ordinary one (“say” in the sense of “report”, “notify”) and a specific one belonging to the sphere of oral creativity (“telling”).”
Folklore traditions have largely determined the nature of literary skaz and the originality of its style, which is an organic fusion of folk-traditional and book elements.
The works of such outstanding writers of the 19th century. as N.V. Gogol, M.Yu. Lermontov, V.G. Korolenko's tale is established as a full-fledged genre of fiction.
In the 20-30s of the twentieth century. Such writers as B. Shergin, P.P. turn to literary tale. Bazhov, S. Pisakhov, E. Pistolenko. Thus, one of the important specific features of the literary tale is the fusion of the life principle with folklore sources - legends, fairy tales, that is, an organic combination of the real and the fantastic.
The most important feature of the skaz genre, which characterizes it both from the content and from the form, is the image of the narrator, the storyteller. In the tale, the narrator is called upon to give an assessment of events and facts from the point of view of the people. The narrator of a folk tale is an individual, a hero from the people, whose voice merges with the voice of the author. The narrator - the people - the author are indissoluble in a tale. V.V. Vinogradov argued that “ the narrator is the speech creation of the author, and the image of the narrator in the tale is a form of literary artistry of the author. The image of the author is seen in him as the image of an actor in the stage image he creates.». .
The narrative can be told from three points: 1) from a person from the people (N.V. Gogol, P.P. Bazhov); 2) the story can be the voice of the collective, i.e. “we” (M.Yu. Lermontov); 3) the story can be told on behalf of the writer (S. Yesenin). .
But no matter whose voice is heard in the tale - a representative of the working people, a collective, or the writer himself - it always presupposes a popular assessment of the events described, a popular view of the phenomena of social life. Therefore, the narrator in the tale is the bearer of mass consciousness, a collective worldview.
A work of fiction begins with its title.
Of all literary genres, skaz is perhaps one of the most “sensitive”, the most demanding of titles. As for fairy tale images, they are relatively rarely given in a long-term temporary development; they appear before us most often already formed, with all their inherent general, “generic” and individual qualities; but this does not diminish their artistic merits. The most vivid fantastic images develop into typical characters.
The structure of the tale is complex and multifaceted. A fairy tale, like other literary genres, has its own beginning, climax, and denouement. It contains a portrait and a landscape, a dialogue and a monologue, its own composition, unique to this genre. And all these elements are subordinated to the solution of the main artistic task: the reflection of a historical era.
Nikolai Semenovich Leskov (1831-1895).
Arkin I.I. Literature lessons in grades 5-6: Practical. methodology: Book. for the teacher. - M., 2000, p. 130
Two-voices as a peculiarity of the stylistics of Leskov’s tale: author and narrator. The dignity and intelligence of a commoner in the folk-ironic style of the tale. Its contrasting composition: the confrontation between imperial and popular Russia. Historical truth and folk legend in the artistic structure of the tale. The ironic and highly poetic are inseparably contrasting in the style of “Lefty”. (1883). Belinovskaya Z.S., Mayevskaya T.P. An epic with a “human soul”. (Materials for lessons based on N.S. Leskov’s tale “Lefty”. // Russian language and literature in secondary educational institutions of Ukraine. No. 2, 1992, p. 2 - 5
The main theme of Leskov’s work is the depiction of the life of post-reform Russia. The writer strives with all his might to preserve the national identity of the Russian people and opposes forces hostile to them.
Theme and idea of the tale by N.S. Leskova "Lefty".
The theme of originality, talent, and dedication of the Russian people is embodied in “Lefty.” This is a tale about a Tula gunsmith, the fate of a talented man from the people. The brilliant master did not have his own name, but only a nickname - Lefty.
Preface by M.S. Goryachkina to the book. Leskov N.S. Lefty: (The Tale of the Tula oblique lefty and the rest of the flea). - M., 1985, p. 7
Turyanskaya B.I., Kholodova L.A., Vinogradova E.A. Komissarova E.V. Literature in 6th grade: Lesson by lesson. - M., 1999, pp. 103-111
We can identify 4 main ideological motives of the tale “Lefty”:
1. The amazing abilities of the Russian people.
2. True patriotism of Lefty, the people.
3. Ignorance, which limited his capabilities.
4. Irresponsible and criminal attitude towards him on the part of the authorities (from the courtier to the policeman) reaching not only to beatings, robbery, but, in essence, to the murder of a brilliant master.
The idea for “Lefty,” according to Leskov, arose from the saying: “An Englishman made a flea out of steel, and a Russian shod it.” Polukhina V.P. Methodological recommendations for the educational anthology “Literature”. 6th grade. - M., 1996)
Preface by M.S. Goryachkina to the book. Leskov N.S. Lefty: (The Tale of the Tula oblique lefty and the rest of the flea). - M., 1985, p. 7
“The appearance of the narrator in the tale “Lefty”, his speech merges with the appearance and speech of the main character of the tale. The originality of the perception of life, alien to the narrator and the hero, the comic and satirical rethinking of many of its concepts and language creates a special style of the tale about Lefty. Subsequently comparing the style of his legend “Buffoon Pamphaloi” and the style of “Lefty”, Leskov wrote: “This language, like the language of the “Steel Flea”, is not easy, but very difficult, and love for the work alone can motivate a person to take on such mosaic work . But they blamed me for this very “peculiar language” and finally forced me to spoil it a little and discolor it.”
Leskov uses in it the techniques of a fairy-tale narrative: the beginning, the construction of dialogue, the ending: “The Emperor says: “What do you, courageous old man, want from me?” And Platov replies: “I, Your Majesty, don’t need anything for myself...”
The author characterizes the style of the tale “Lefty” as “fabulous,” that is, fabulous, fabulous, and considers the character of the hero “epic.” But Lefty appears before readers as a living person, and not a conventional fairy-tale hero. And this impression is created largely thanks to the folk spoken language, given in all its everyday authenticity, thanks to the narrator’s ability to reveal the psychology of the character through dialogue. Both the events and the speech of the characters in the tale are devoid of fantasy. Everything is perceived as quite real and plausible. And this perception is not only not hindered by the bizarre language of the tale, but even helps - it so revives and makes the painted types of people unforgettable.
Russian proverbs and sayings are richly used in the language of the tale: “The sky is cloudy, the belly is swelling, - the boredom is great, and the road is long”, “At least he has a sheep’s fur coat, but a little man’s soul”, etc.
Preface M.S. Goryachkina to the book. Leskov N.S. Lefty: (The Tale of the Tula oblique lefty and the rest of the flea). - M., 1985, p. 7
Leskov’s favorite genre of “fairy tales,” first-person narration, required a special gift of transformation. (Subsequently, this technique was successfully used by other writers; we can say that this genre was transformed into a special type of story with a first-person narrator). Zoshchenko was a brilliant master of the “skaz” - story; Vladimir Vysotsky also spoke confidently on behalf of his heroes.
P.P. Bazhov(1879-1950) was from a Ural workers' village. He received a spiritual education, participated in the Civil War, and was engaged in newspaper journalism. Pavel Bazhov came to fiction late, at the age of 57, but managed to create a whole collection of “Tales of the Old Urals.” In total, from 1936 to 1950, he wrote over forty tales. The first issue of his collection “The Malachite Box” was published in 1939. (37 tales).
The writer denied the very possibility of processing folklore: “I don’t know what right I have to process, I have doubts in this regard. After all, this is what they say, but in reality you cannot create against folk art. Any attempt at change will be worse than what is there.” Bazhov's tales only in appearance resemble byliches and fairy tales that existed in mining villages. The writer created the plots and many of the characters himself, mixing folklore and literary storytelling techniques.
The tales complement each other, some characters move from tale to tale, fantastic events take place within a common time and space. In general, the epic of the Urals is taking shape. At the center of each tale is the life of working people, in which something fantastic suddenly happens. The strength of the working man, his talent and wisdom are opposed to both the force of oppression, embodied in the various masters of life, and the secret power of nature. The drama of this complex confrontation forms the basis of the problems of fairy tales.
The main thematic cycles of P.P.’s tales Bazhova:
1. Tales about the natural resources of the Urals.
2. Tales about the masters of the Urals.
3. Tales about the plight of the working people.
4. Tales about breeders and their associates.
5. Tales about family relationships.
It should be noted that all the above-mentioned themes of P.P.’s tales. Bazhov have very thin, blurred boundaries and can interpenetrate each other, that is, several themes can calmly coexist in one skaz.
His manner of telling a story about the past (as if in reality - on that mountain, behind that forest...) creates the impression of living oral speech addressed directly to the reader-listener. That is why dialect words and common sayings are perceived as an organic feature of a book text (at the same time, Bazhov opposed deliberate folklorism in the literary language)
Pavel Bazhov divided his tales according to tone and structure of speech into three groups: tales of a “children’s tone” (for example, “Ognevushka-Jumping”), “adult tone” (“Stone Flower”) and “historical stories” (“Markov Stone” ).
The story is told from the perspective of a clearly interested narrator. The reader is conveyed both his sympathy for the poor and grieving people, and his disapproval for his inability to be kind and affectionate. Tactfully, but steadily, the narrator affirms the ideal of life, not a fairy tale, but the most real one: “We lived and lived, but didn’t make much good; but they didn’t cry for a living, and everyone had something to do.”
The little reader is fascinated by the depicted setting - real and at the same time mysteriously fabulous. Three times he and the heroes find themselves in different dwellings: the first is the most ordinary one, where grief seems to have settled, the second is the Kokovani hut, where it is so cozy to work and listen to fairy tales, and the third is a forest booth where a unique miracle happens. From the everyday world, where good and evil are intertwined, to a world where fairy tales are intertwined with reality, this is the logic of compositional construction.
Pavel Petrovich Bazhov is the greatest master of literary tale. Many prose writers and poets considered him their teacher.
literature children's story fairy tale
Thinking about what we read
1. Why did the nameless master (left-handed) and his comrades undertake to support Platov and with him the whole of Russia?
2. Read the scene in the palace. Pay attention to the portrait of a left-hander. How does he behave with the king and his entourage?
3. Why is “on every horseshoe the master’s name is displayed: which Russian master made that horseshoe,” but the name of the left-hander was not there?
4. How did the British manage to persuade the left-hander to stay in England? What made a special impression on him abroad?
5. How did N. S. Leskov portray General Platov? What is the main thing in his character? Which features of the folk hero does the author admire and which ones does he reject?
Find in the tale episodes that depict the royal entourage, details of the text that convey the author’s satirical attitude towards his representatives. Read these scenes so that you feel the author's caustic ridicule.
The Encyclopedic Dictionary contains information about Platov:
“Platov, Matvey Ivanovich (1751-1818), Russian military leader, cavalry general, ally of A.V. Suvorov and M.I. Kutuzov. In 1790, Platov commanded a column during the assault on Izmail... In the Patriotic War of 1812, Platov, commanding a cavalry corps, covered the retreat of Bagration's 2nd Army, and then the 1st and 2nd Russian Armies. In the Battle of Borodino, he conducted a successful maneuver to the rear of the left wing of the French troops. Platov was the initiator and organizer of the Don Cossack militia against the French invaders.”
How does this message differ from the image of Platov in the tale “Lefty?”
Improve your speech
1. The genre of the tale presupposes a storyteller close to the people. Read the fragments of the tale where the narrator’s voice is heard. Pay attention to his speech. Which of the characters in the work is he closest to? Support your answer with quotes from the text of the tale.
2. The tale of the left-hander is very close to a work of oral folk art. Find in it the techniques of a fairy tale narrative: beginning, repetitions, dialogues, ending - think about what role they play in the work.
3. There are many new words in the tale about the left-hander. Word creation begins where the narrator or hero encounters non-Russian names that are incomprehensible to an illiterate person. The artisan, talking about things unfamiliar and foreign to him, distorts their names according to his idea of them. But at the same time, the narrator puts a humorous meaning into them in the spirit of popular understanding, for example: a couch is a “couch”, “messengers” are “whistles”, a table is a “dolbitsa”. Continue with these examples. Pay attention to who owns them.
4. According to Leskov, the idea for “Lefty” arose from the saying: “An Englishman made a flea out of steel, and a Russian shod it.” There are many Russian proverbs and sayings in the language of the tale, for example: “At least he has a sheep’s fur coat, but a man’s soul,” “The morning is wiser than the night,” etc. Find more proverbs and sayings.
5. Tell us about the character of a left-hander. You can use the following quotation plan:
a) “- Burn yourself, but we don’t have time,” and again he hid his plucked head, slammed the shutter and set about his work”;
b) “He is walking in what he was wearing: in shorts, one trouser leg is in a boot, the other is dangling, and the collar is old, the hooks are not fastened, they are lost, and the collar is torn; but it’s okay, don’t be embarrassed”;
c) “...I worked smaller than these horseshoes: I forged the nails with which the horseshoes are hammered - no small scope can take them there”;
d) “There is no doubt about this,” he says, “that we are not too deep in the sciences, but only faithfully devoted to our fatherland”;
d) “...But I want to go to my native place as soon as possible, because otherwise I might get a form of insanity.”
Think about what points could be added to this plan.
6. Leskov said: “...where “left-handed” stands, one must read “Russian people.” With this in mind, think about why the oblique left-hander in the tale does not have a name and even his nickname is written with a small letter.
Creative task
L.N. Tolstoy called Leskov “the writer of the future.” What do you think the great writer meant by these words? Prepare a detailed written response to this question.
Literature and other arts
1. Look at the portrait of a left-hander and the illustrations of the artist N. Kuzmin. Pay attention to how the artist depicted the left-hander and other characters. What is the artist’s attitude towards what he depicts?
2. One of the critics expressed his opinion about N. Kuzmin’s drawings for the tale “Lefty”: “Kuzmin’s Leskovsky touch... mischievous, unexpected, sharp, but essentially kind... style... was born from the text itself, in which the artist entered to experience “from the inside** his event.”
Do you agree with this statement?
3. Look at the Kukryniksy’s illustrations for “Lefty.” Is it possible to agree with this statement: “Here the artists are offended for being left-handed, so that one can feel their almost personal offense”?
4. Interest in “Lefty” has not diminished in more than a hundred years since its appearance. Artists, directors, composers turn to Leskov's tale. It was staged on theater stages in many cities (Moscow Art Theater - 1924, Leningrad Opera and Ballet Theater named after S. M. Kirov, Moscow Spesivtsev Theater - 1980, etc.). The cartoon and television film “Lefty” were a great success. If you have seen one of them, answer the question: did your ideas from what you read coincide with what you saw?
5. In the old part of the city of Orel, next to the building of the gymnasium where N. S. Leskov studied, and the Church of the Archangel Michael, the surroundings of which became the setting for the writer’s works, there is a monument to N. S. Leskov by the authors Yu. G. and Yu. Yu . If you have seen this monument or its image (on postcards, on the Internet), answer the questions: what is special about this monument? Do you recognize the heroes of N. S. Leskov?
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