Shukshin wolves genre of works. Analysis of "Wolves" by Shukshin (School compositions). Vi. Analytical storytelling and charting

The writing

Moral problems of the 60s-70s of the XX century are comprehended in the works of writers writing about the village: V. Shukshin, F. Abramov, V. Belov. These authors consider the topic of Russian spirituality.

V. Shukshin is a wonderful writer who knows how to convey stories in his own way. His stories are characterized by their simplicity. Despite the outward simplicity and brevity of the plot, they are deeply moral and instructive, one feels that the author has a rich life experience behind him. The writer, with good irony and without excessive edification, shows us what is good and what is bad, what is possible and what is not. Morality can be drawn from his stories. For example, as in the story "Wolves". Here we see what happens when people turn into animals.

The story has two main characters, two simple Russian men. Naum is not old yet, quick, cunning and charming (probably there is some irony of the author). Ivan is strong, though a little lazy. The author immediately makes it clear that there are disagreements between them (at the beginning of the story it is said that there was a family enmity between Ivan and Naum).

They go to the forest for firewood, and wolves attack them. Naum was the first to chicken out. From fear he even lost his head, shouted: "Rob-ut!" It is clear that this person is a coward, an eternal fear for his own life lives in him, any situation causes him anxiety. At first, Ivan remained calm, cold-blooded, he even wondered at the reaction of his father-in-law ”But when the wolves were near, Ivan also felt creepy. Anyone can be seized by fear when danger is near. The situation was such that Ivan needed Naum's help. Nahum had only to hold the horses, and then he and Ivan would have fought off the wolves. But he chickened out, and Ivan was in great danger. Naum betrayed him.

The wolves attacked the sleigh and mauled the horse. Only Ivan's courage and self-control saved him, he survived. So much for a simple man, here for you, “naked like a falcon!”, As Nahum used to say. I survived in such a situation, did not get scared. A brave man. And Naum turned out to be a coward and a traitor.

But here is the next moment of the plot. Ivan decided to settle scores with the villain. And another race began. Then the wolves were catching up with the man, and now the man was catching the man. How are these two better than wolves? Thirst for revenge, anger turn people into animals. This is the meaning of the title of the story.

The conflict continues at Naum's house, when Ivan finally came to deal with the traitor. It's good that the policeman intervened, otherwise there would have been a murder.

Thanks to this story, I finally realized for myself that cowardice is perhaps the worst vice, it often gives rise to meanness, betrayal in a person, brings to life everything bad, without which our existence, unfortunately, cannot do to this day.

Almost all authors who consider the problem of morality in their works in one way or another do not undertake to solve this problem in any one way, although they have rather clear ideas about moral categories. However, showing the imperfection of a person who constantly violates the laws of morality, they nevertheless approach this topic with a certain amount of caution, trying to avoid straightforwardness, stilted images, and annoying edification.

Regional state educational institution

secondary vocational education

Ryazan Pedagogical College

Discipline test

"Literature"

“Analysis of the literary work of V.M. Shukshina "Wolves"

Lecturer: Lebedeva L.V.

Work performed by: N.V. Veryaskina

Ryazan 2011

"Wolves" is one of the earliest stories by V. M. Shukshin (written in 1966, published in 1967 in Novy Mir). This story was somehow unlucky: it is very rarely included in collections of the writer's works, literary critics practically "do not notice" it. Meanwhile, "Wolves" is a typical Shukshin story: its plot and the main collision are an episode torn out of ordinary rural life. The episode, as is most often the case with Shukshin, is dramatic, with a rich dynamics of action, with an intensity of emotions. In it (episode) - and this is also typical of Shukshin - human characters are highlighted. The story is also typical in the author's style.

First of all, let us note the appeal to the spoken element as to the main arsenal of speech means; dominance of colloquial speech both in dialogue (which is natural) and in the author's narration. Shukshin's prose as a whole is characterized by "immersion" in the spoken element. This side of the literary style of the writer is noted in the literature about him. Thus, B. Pankin writes: "The fact that the word is the only weapon of the writer is an axiom that has become a truism. Nevertheless, I want to repeat this truth. With one, however, clarification. Not a word in general, but speech, lively colloquial speech, easily, naturally, like mercury that takes any form. This is its element that makes up the fabric and content of stories, their building material. It is she who is heard in dialogues, and in monologues of heroes, and in laconic author's comments "1. In the compositional-speech structure of the story, dialogue clearly predominates.

Stingy in words, expressive colors, at the same time accurate, energetic, emotionally intense, semantically complicated characterization of characters, their actions, plot situations, pithy brevity, lapidary style, characterized by semantic capacity and dynamic presentation. These qualities of Shukshin's writing style are correlated with the stylistic properties of colloquial speech. The same B. Pankin connects Shukshin's “meaningful” brevity of the syllable with his passion as an artist of the word for colloquial speech. “The language of stories,” writes the literary critic, “is artistically expressive, but the means of expression are unusually modest, unassuming, they are all from the arsenal of oral speech” 2 (here we mean colloquial speech). However, as the artistic experience of Chekhov the prose writer (whose follower in the field of story poetics is Shukshin) shows, such a fictional manner of writing is not strictly connected with the style of "colloquiality."

Finally, Shukshin's style is determined by the installation (and this is seen as the main factor in the poetics of his literary work) to write the truth "without lies" ("Praise those who stopped lying" - from the writer's Notebooks).

As a result, as Professor V. S. Elistratov writes, "at the stylistic level, we see true simplicity, a kind of reasonable minimization of verbal texture. Nothing superfluous. A clear rhythm. Lack of ornament."

The active functioning of colloquial (literary) speech and vernacular in Shukshin's stories is largely due to the socio-cultural status of the characters (for the most part they are rural residents), the author's addiction to dialogue, story plots (all of them are about life in the village), Shukshin's general orientation towards the image , artistic study of folk life. "The ear is amazingly sensitive," - so, according to Y. Trifonov, A. Tvardovsky appreciated Shukshin's writing skills in building a dialogue, in reproducing the lively, spontaneous speech of his characters 4.

From the very first works, the main character of Shukshin is a villager, a simple Russian person of an integral remarkable nature, who does not succumb either to everyday hardships or to a fierce forest beast. He has a reliable reserve of self-confidence, which gives strength to withstand extreme situations that require certain moral actions.

Shukshin chose as the object of artistic research the Altai village, contemporary to him and native for him, with all its disorder and at the same time with an inescapable craving for good, with a naive romantic desire to get away from the boring monotony of everyday life, to break out of a soulless existence devoid of traditional age-old moral foundations and agricultural poetry. labor, while preserving the behests of the elderly to live according to conscience. V. Shukshin admitted: "For me, it is in the village that the most acute clashes and conflicts arise. And there is a desire to say my word about the people who are close to me."

In the literary work of Shukshin, in a certain sense, the tradition of Russian classics is traced, going from Leskov through I. Shmelev ("I am lost for the language") and M. Gorky. Indeed, in terms of everyday life, in independence in actions and judgments, in their vitality, in their openness, in their spontaneity of soul, Shukshin's heroes are akin to Leskov's characters. shukshin story vernacular expression

The writer is immersed in everyday life, the everyday worries of not an ordinary "man of the people". The author is always close to his characters, he is "his" for them, lives by their sorrows and ... dreams. This is how Shukshin feels in his stories. He knows the village - life from the inside, not by hearsay, in details. It is no coincidence that one of the literary critics called Shukshin's works "the voice of the masses of the people."

The plot of "Wolves" is simple: two villagers - Naum Krechetov and his son-in-law Ivan went to the forest to get firewood. On the way, wolves attack them. The father-in-law got cold feet and threw Ivan alone against the wolf pack ... Returning to the village, the son-in-law for such a betrayal, which almost cost him his life, intends to "sweep away" his father-in-law. But he has already called the policeman, who takes Ivan to the "village jail".

In the story, attention is drawn to itself, firstly, its vocabulary, the author's work with the word and with the word; the deliberation in the choice of words, the motivation of their use in this context and in the context of the entire story is obvious.

Secondly - the very manner of describing the characters, participants in the action, reproducing plot situations, scenes, "pictures of nature" (the latter are sparingly presented in "Wolves", as, indeed, in other stories) - laconic, restrained and at the same time semantically and expressively saturated ; the phrase, the speech structure of the entire text is distinguished by the dynamism of the syntactic structure. Shukshin's stylistic manner obeys the principle of "truthful simplicity", which requires the author to have the necessary sufficiency in the artistic depiction of a given fragment of reality and, first of all, in the depiction of a person, his actions, his inner world in general, "dialectics of the soul" (according to Chernyshevsky), in figurative -poetic reproduction of the "second reality" (recall: fiction is the second reality).

Colloquial and colloquial words and expressions perform the following functions in the story "Wolves".

I. They act as a speech characteristic of the character, emphasize the expressiveness of his remarks. Here is one of Ivan's remarks (at the beginning of the story): - ... I would have liked better to dig a water supply system, trenches: I gave it my best, but then without grief - water and heating. Here, the verb to give all means to give, to spend all the strength on something, refers to colloquial speech (originally it was most common in the speech of athletes). The verb to give all the best is expressive and contributes to the dynamism of the statement. This confirms the comparison with possible synonymous substitutions: I would try to work, I would work properly (sparing no effort) - which are both verbose (which would deprive the replica of dynamism) and expressively unimpressive.

Another illustration: - It's bad in the village! .. It's better in the city<...> Why pinned here?

(Replica of Ivan's father-in-law.) The verb to pin down refers to colloquial (literary) speech, is part of the rude vernacular vocabulary, it is used in emotionally stressful situations when the speaker expresses his great dissatisfaction with the arrival of someone. This is consistent with Naum's negative attitude towards his son-in-law, as well as the context of a far from friendly dialogue between them. (We note an important circumstance for a full-fledged perception of the text of this story: to give all the best, and to stick, as, incidentally, other words related to colloquial speech, and nowadays - at the beginning of the XXI century, almost 40 years later, act with the same stylistic characteristics 7.)

The most expressive, expressively saturated in the story are the replicas pronounced in acute conflict and extreme situations, which is generally inherent in affective speech. For example, here is the final scene of the fight with the wolves:

Yours took it, ”he said. - Eat, you bastards<...>

Well, wait! ... Wait for me, creeping snake. After all, they would have fought back - and the horse would have been whole. Skin.

Or Ivan's explanation with his father-in-law after a fight with wolves:

Betrayed, serpent! I'll teach you a lesson. You won't leave me, better stop. I'll beat one

not so shameful. And then in public I will sweep<...>

Now - stopped, keep your pocket! - Nahum whipped the horse. - Bloody devil ... where did you get on our head.

In these remarks, we see a whole set of words and expressions, endowed with bright colors of "reduced" expression, "charged" with negative emotions. The selected lexical and phraseological units belong to vernacular or to the category of rude verbal lexicon and phraseology, to colloquial (literary) speech, as well as to everyday words and expressions of colloquial speech. The word betrayed alone belongs to book speech.

In the cited remarks, there are other elements of colloquial speech and vernacular that are involved in recreating the naturalness of similar replicas of real dialogues.

1. The so-called discourse, or structural, words. They function in oral speech, mainly in colloquial speech, as well as in such areas of book oral speech as the language of radio and television; and outside the framework of the literary language - in folk colloquial speech: vernacular, dialects, jargons. In the cited here (and other) remarks, such words and expressions are, but, just keep your pocket ... 8

2. Typical for common parlance the use of a relatively interrogative pronoun in affective constructions in the genitive case, for example: Why did you get here ?; What are you! Are you barking? ..

3. Abnormal use of forms of different parts of speech (see below for more on this).

All this gives the lines additional expressiveness, as well as the believability of real dialogue.

1. The expressive expressiveness of the text increases due to the foreign-style character of these speech elements in a literary and artistic work. Indeed, as you know, a literary and artistic work, with all the author's immersion in the spoken element, finds its stylistic embodiment within the framework of the language of fiction, or an artistic style related to book speech (to its written styles).

The author's orientation towards the "lively", easy speech of the characters and - accordingly - to informal speech communication, the use of elements of colloquial speech and vernacular in his own author's "party" is due, along with the description of village life, the folklore and ethnographic themes of the literary text (for example, the tales of P Bazhova), the depiction of the "thieves environment" (for example, in modern detective stories or by Y. Aleshkovsky), the disclosure of the inner world of the "little man" in modern underground prose with its "common intellectuals", in the works of E. Popov, A. Slapovsky, on the one hand - and V. Astafiev - on the other).

In the story "Wolves", such words convey mainly the dynamism of the scene, the energetic actions (and speech behavior!) Of the participants in the situation (often from the position of the corresponding character), emphasizing the dramatic nature of the situation being depicted, the tense psychological state of the character. For example: Ivan ... hit the leader with a whip. Here the verb to bang suggests an energetic and very strong blow with the whip; refers to vernacular, common in everyday speech. The horse jumped aside, into a snowdrift. The colloquial verb to shy away is homonymous, here it means a sharp, energetic jerk to the side because of fear, from surprise, the word is very expressive. This becomes obvious if we compare it with "neutral" synonymous substitutions: rush to the side, quickly step back, run away to the side, which convey only meaning, remaining low-expressive in their expressive coloring. The wolf ... jumped under the horse and, with a blow of its clawed paw, opened its belly along. To dissolve is a common verb, here it conveys the power and vigor of the blow, the movements of the wolf, by its origin it belongs to the professional jargon of tailors: when altering old clothes, the tailor cuts or breaks the threads (dissolves them), which sewn the two halves of the clothes; see also: The horse turned around and took a swing from the spot; The whole flock spun around the leader.

The tension of the situation, the energetic actions of the characters and animals (mainly in Ivan's perception) are also conveyed by the author in "neutral", commonly used words: Wolves were pliantly rolling down the mountain in gray lumps; the slightest delay, and they [the wolves] will fly into the sleigh on the move .., as well as the syntactic structure of the sentences: Wolves<...> were very close: the slightest delay, and they will fly into the sled on the move - and the end. It is no coincidence that the non-union sentence is here, its second part is especially dynamic: the drama of the situation is emphasized by syntactic means - in addition to its lexical and phraseological composition. Wed: Ivan gritted his teeth, frowned ... [author's ellipsis. - Yu. B.] "The End. Death". He looked ahead. Remarkable for its laconicism and emotional expressiveness, this fragment testifies to the outstanding stylistic skill of the author of the story. Two nominative sentences (End. Death), designed as direct speech, on the one hand, convey the dynamism, psychological tension of the described situation (of course, together with other words and sentences) from Ivan's point of view; on the other hand, the noted dynamism and drama of the situation make words that introduce direct speech superfluous - the first sentence directly indicates who owns direct speech.

These nominative sentences, as introduced by the author into the text, can be perceived as a kind of parceling (recall; parceling is "such a division of a sentence in which the content of the statement is realized not in one, but in two or several intonational-semantic units, following one after the other after a dividing pause ... Parceled parts are always outside the main sentence. "9. Punctuation parceled parts are" formed "as independent sentences. Such a syntactic structure of a text fragment deepens the syntactic-stylistic and semantic perspective of the author's narration with a minimum of used linguistic means, giving the author's speech a high the degree of expressiveness.

The last sentence (Looked ahead) is incomplete. And this is very appropriate, since the personal pronoun or the name "Ivan" as a subject in this context is superfluous. It would interfere with the transfer of the dynamism and drama of the situation described. The choice of the verb itself is also symptomatic: I looked - from the vernacular, it is typical for the speech of a villager, in general - a bearer of vernacular; in a literary and artistic work - the "product" of the book culture of the word, it is perceived as "fresh", expressive against the background of common and book vocabulary. Moreover, by choosing this verb, the author once again emphasizes that the plot situation reproduced in a given place in the story is "given" in the perception of Ivan, from his position (see below for more on this).

2. Colloquial and vernacular vocabulary and phraseology, when describing the situation in which the character finds himself, convey not only the author's assessment of this situation, but also its (situation) perception, assessment by the character himself. The author thereby expresses his attitude to what is happening, as it were, on behalf of the character. As a result, such an image by the language means of an episode, a scene, a plot situation acquires three-dimensional, stylistic stereoscopicity. For example: And one more [wolf] rolled away from the pack (Ivan sees this). Here, fuck off appears in vernacular use - in a figurative meaning to move away, run away from someone, something. This meaning is clarified by the combination with the outside of the pack and context. This word usually comes out with the meaning to sail, to sail (about a ship, about floating craft), refers to colloquial vocabulary. Another example: the most fierce dog can still stop something at the last moment.<...> The adjective fierce in relation to animals (mainly to predatory ones) is used relatively rarely (there is a stable combination of a fierce beast), it has an intensifying character (very cruel). It is somewhat archaic; belongs to the synonymous series: evil, angry, cruel, ferocious. They usually say about dogs: angry dog. In this context, when a wolf (indeed a very cruel, ferocious beast) and a dog are compared, the combination of a fierce dog is used on purpose. The author thereby emphasizes the special cruelty of the wolf. After all, this is how Ivan perceives the leader of the wolves.

Words whack, twirl, shy away, look, dissolve, fuck off, fierce - from the scene of Ivan's fight with wolves. They convey (along with participation in the description of the scene itself) Ivan's reaction to what is happening, enhancing the expressiveness of the text, the dynamism of the author's description due to the "introduction" into the objective narrative of the personal assessment of the character - "the participant in the event."

In the vernacular gerunds, pitifully (in the literary language it is regarded as outdated, used in folklore texts, when stylized as "folklore") and in the colloquial verb, in sentences: Naum, pitiful daughter, endured son-in-law; [He] sensed unkindness in his son-in-law's voice - the "voice" of the character, Naum Krechetov, is clearly felt. First, here the verb to regret appears in the dialectal meaning "to love"; secondly, the form of the participle in -uchi (-yuchi) contains additional socio-cultural information, in this case about Nahum as a bearer of vernacular. The colloquial word to sense is fully motivated by the tension of the current situation, it conveys the psychological state of Naum, who is afraid of his son-in-law, because he cannot but understand that he actually betrayed him, leaving him alone with the wolves. Therefore, I felt "neutral", only denoting the state of a person, in this context would not convey so accurately and voluminously the personal feelings of the character and the drama of the scene.

For the completeness of the description of colloquial and vernacular vocabulary in the dialogues of the story, it is important to pay attention to those words whose semantics and "reduced" tonality are revealed only in oral speech. This refers to words that appear (in the dialogues of this story) with meanings determined syntactically and phraseologically.

So, in the remark of Naum: On the one hand, of course, it is good - the water supply, on the other - trouble ... you would then completely fall asleep - the semantics of the noun trouble is due to its syntactic position of the predicate. The meaning of the verb to abandon in the meaning of lagging behind someone, to stop practicing it, to think about it is realized only as part of a syntactically stable combination - see the policeman's remark about Naum, addressed to Ivan: "Drop him!"

The meanings of the verbs to take, to earn, to pour in the appropriate remarks: - I took a little for eloquence; - No, I have to mark it. - Well, you will earn ...; - Poured balls something<...> - phraseologically conditioned.

Since colloquial speech in a literary and artistic work is not a stenographic record of living speech, but its stylization, such use of the words just considered significantly helps the writer to give the replicas the naturalness and believability of a real everyday dialogue.

In the depiction of the emotional state of the characters, the dramatic tension of the plot situation, in the expressive expressiveness of the dialogues and, to a large extent, in the author's speech, in the recreation of the "naturalness" of the real dialogue in the replicas of the characters, along with the vocabulary and phraseology of colloquial speech and vernacular, as already noted, grammatical units and word-formative elements of the same functional and stylistic affiliation. They naturally fit into the general ensemble of stylistic means of expressing expression characteristic of oral informal communication in the conditions of interpersonal communication of the speakers of vernacular, as well as into the speech characteristics of the characters in the story.

Of the syntactic phenomena of colloquial speech, we note the paratactic combination of verbs (let's go for some firewood; go for a walk; let's go play chess), the actualized word order in the utterance, due to the context (the previous remark), the speech situation (in the story - complicated by the atmosphere of affective speech), for example : I will beat you, not bark - Ivan's response to his father-in-law's questioning remark: - What are you? Are you barking? ..; see also Ivan's remark (it is highlighted in font) in the context of the dialogue: - I wanted to teach your dad a lesson ... How a person should be<...> - Just a little: so that you are a man. And you are the skin. I will teach you all the same.

From morphology, attention is drawn to themselves by their expressiveness, first of all, particles, mainly - modal particles (they "introduce into the sentence different meanings of the subjective attitude to the communicated" 10). For example: get up; poured balls, then, come on!, but because ...; what, to sit without firewood?; Here is (an indicative particle) why do young people want to go to the city? Let's go; Well, you will earn!; see also in the composition of stable speech turns: Well, wait a minute!; Damn it! ... (they refer to the above-mentioned discourse words).

Another morphological means of expressiveness is the non-normative forms of different parts of speech (adjective, noun, verb), characteristic of the extra-literary sphere of the Russian national language: the full form of the adjective in the function of the predicate instead of the short one (as the literary norm requires) - he got a horse, and he but still unhappy; ... and the horse would be whole; the ending of the genitive pad. pl. the number of masculine nouns ending in -tel (Do you know where they put such pathogens? - instead of the normative pathogen); in the remark of Naum, answering Ivan with obvious hostility towards him, recalling the remark of his son-in-law before the trip to the forest about the advantages of city life: The Teacher was found! Nozzle<...> Moreover, he is dissatisfied with everything: water pipelines, you see, no - a non-normative plural form of the word water supply is used - the form "potential", uncommon in the literary language (since this word refers to the designation of technical structures of a universal nature - cf. etc.), however permissible in affective speech, in a dispute, etc .; the non-normative form of the personal ending of the verb to rob (Grab yu-ut! - he shouted in fright, whipping the horse).

From word formation, we note the nouns with diminutive-affectionate suffixes characteristic of easy colloquial speech: -chik- (Golubchik and gray-haired. Exhibited); and -ishk- (Let's go for firewood ishk ami; let's go to chess ishk and play); verb formations expressing the intensity and vigor of the action (the whole flock spun around the leader; Naum whipped the horse).

Literary critics and researchers of Shukshin's fiction have long noticed the continuity of his style with that of Chekhov's prose (see, for example, the above-mentioned works by V.S. Elistratov, Vl.Korobov).

First of all, they write about Shukshin's optimally laconic manner in reproducing the world of things and nature, and most importantly, in conveying the inner world of heroes, in identifying the emotional tension of the state of mind, speech behavior, the actions of the characters, the dynamism of plot situations, scenes, and their psychological load.

In "Wolves" these qualities of Shukshin's prose, coming "from Chekhov," are clearly felt in the description of Ivan's fight with wolves and especially the leader of a wolf pack.<...> Ahead, a large, busty man with a singed muzzle was waving away ...<...> And now Ivan realized that a wolf is a wolf, a beast<...> This, with a singed muzzle, could only be stopped by death. He did not growl, did not frighten ... He was catching up with the victim. And the look of his round yellow eyes was straight and simple<...> The leader twice looked directly at the man with his yellow round eyes ...<...> The leader glanced at him again ... And this glance, triumphant, insolent, angered Ivan. He raised an ax<...> rushed to the wolves<...> the leader looked closely and directly<...>

An extremely brief portrait of the leader, in which, along with expressive "external signs", there is also a memorable psychological appearance of a wolf: large, busty, with a singed muzzle; waved it off (indirect assessment of the power of the wolf); round yellow eyes; his round yellow eyes were straight and simple; this glance, triumphant and insolent; the leader looked intently and directly.

Such brevity in the description of the wolf can be explained by the "vital" needs of the author's narration, the development of the plot in this literary and artistic work. On the one hand, the drama of the situation of the fight with wolves, the swiftness of what is happening, the psychological state of the character (Ivan), who found himself in the center of this deadly fight; on the other hand, the whole scene of the attack of wolves is given by the author practically from the position of Ivan, in his perception (the wolves reached the road a hundred meters behind the sled<...> And it was no longer funny either; already only fifteen or twenty meters separated him [the wolf] from the sleigh), there was no time to “paint” the wolf in detail, it was important to “grasp” the main thing in its external and psychological appearance.

Meanwhile, it is precisely this "stingy" in stylistic colors, practically devoid of "pictorial and expressive means" stating the characteristics of the appearance and psychological appearance of a wolf due to Shukshin's general attitude to the lapidarity of the literary style with the ideological, aesthetic, expressive and emotional richness of the artistic text. This stylistic feature of the author's manner of writing is consistently traced in Shukshin's novelistic prose. It is naturally compared with Chekhov's prose, with the principles of Chekhov's stylistics in the artistic depiction of a person, his inner world and the surrounding reality. With Chekhov Shukshin has in common (and this is manifested in the story "Wolves") one very important constructive moment in the construction of the author's speech, the narration "from the third person." Thanks to this constructive moment, the subjective view of the character is introduced into the "objective" author's vision of the depicted without direct, direct instructions from the author, such as "(the character) thought that ...", "it seemed to him that ...". As a result, the author's speech directly contains the "voice" of the hero, his perception of plot events, situations, collisions, including in the speech forms inherent in this character. Together with the author, the hero becomes the subject of artistic narration.

Such an experiment (and, I must say, an experiment that entered the artistic practice of Russian realist writers) Chekhov undertook in "Steppes" 11, partly in "I Want to Sleep" 12.

And in the stories of Shukshin, including in "Wolves", we see the implementation of such a Chekhovian method of constructing the author's narration. Already in the first paragraph of the story, Ivan Degtyarev's "point of view" and "attitude" to his father-in-law are contained: On Sunday, early in the morning, Ivan Degtyarev's father-in-law, Naum Krechetov, who was not yet old, a quick man, cunning and charming, came to see Ivan Degtyarev. Ivan did not like his father-in-law; Naum, a pitiful daughter, put up with Ivan.

Pay attention to the verb to appear. Along with participation in the embodiment of the main communicative task of the author's speech - the description of the plot situation, this verb also conveys information about Ivan's certain (negative) attitude towards his father-in-law, thereby preparing the reader for the main collision of the story. Here the verb to appear, which in the meaning to come somewhere is used in a business style (the witness did not appear in court), is used ironically, with a tinge of hostility, when the speaker wants to emphasize, emphasizes the undesirability or untimeliness of someone coming to him (cf. the saying " Appeared - not dusty "). Ivan's negative attitude to Krechetov is immediately confirmed by the author's statement: Ivan did not love his father-in-law<...> Obviously, the verb to appear in this paragraph conveys Ivan's attitude to the arrival of his father-in-law.

Grab-ut, - he shouted in alarm [Naum], whipping the horse<...>

"What is he, losing his mind? - Ivan involuntarily thought. - Who is robbing whom?" He was frightened, but somehow strange: there was fear, and burning curiosity, and he took laughter at his father-in-law. Soon, however, the curiosity passed. And it wasn't funny either. The wolves reached the road about a hundred meters behind the sleigh and, stretching out in a chain, began to quickly catch up. Ivan firmly grabbed the front of the sleigh and looked at the wolves.

Ahead, a large, busty man with a singed muzzle was waving away ... Already only fifteen or twenty meters separated him from the sleigh. Ivan was struck by the dissimilarity of the wolf with the shepherd<...>

In this fragment of the story, the description of the situation "from the author" is at the same time given from the position of the character, in the perception of Ivan.

Shukshin combines the traditional way of "including" a character, his "subjective zone" in the author's speech (for example: And now Ivan realized that a wolf is a wolf, a beast) and the method of "subjectivization" of the narrative proposed by Chekhov by direct "inclusion" of the point of view of the character, his speech into author's speech. The test following the above phrase reveals that Ivan "understood" (see italicized in bold in this text), but without words that "introduce" speech, point of view, character's reaction:<...> The most fierce dog can still be stopped at the last moment: fear, affection, an unexpected domineering shout of a man. This, with a singed muzzle, could only be stopped by death. He did not growl, did not frighten ... He was catching up with the victim. And the gaze of his round yellow eyes was straight and simple.

The same is observed in the further description of the fight with wolves (after a few lines):

Ivan was seized by real fear.

The front one, obviously the leader, began to go around the sled, trying on the horse. He was only two meters away ... Ivan got up and, holding on to the sledge with his left hand, hit the leader with a whip. He did not expect this, snapped his teeth, jumped to the side, lost his swing<...> And again, pushing forward, [the leader] easily overtook the sled. Ivan got ready, waited for the moment ... I wanted to get the leader again. But he began to bypass the sled further. And one more rolled away from the pack and also began to go around the sled - on the other side. (This whole scene is presented exclusively in Ivan's perception.)

And here is Chekhov's technique in its purest form:

The leader caught up with the horse and chose the moment to jump on it. The wolves running behind were very close: the slightest delay, and they would fly into the sled on the move - and the end. Ivan threw a piece of hay; the wolves did not pay attention to it<...>

<...> Everything happened so monstrously quickly and simply that it seemed more like a dream. Ivan stood with an ax in his hands, looking in confusion<...>... The leader looked at him again ... And this glance, triumphant, insolent, angered Ivan. He raised the ax, yelled with all his might and rushed to the wolves. They reluctantly ran a few steps and stopped, licking their bloody mouths. They did it so diligently and enthusiastically that it seemed that the man with the ax did not interest them at all. However, the leader looked attentively and directly. Ivan scolded him with the most terrible words that he knew<...>

Undoubtedly, in the first fragment (especially the second part of the non-union sentence:<...> the slightest delay, and they immediately fly into the sleigh - and the end), and in the second (especially the part of it that is limited by the words Everything happened ... before to him, and the penultimate phrase) the author reproduces the plot situation exclusively from the point of view of the character, conveying his psychological state, his perception of what happened, the behavior of wolves, first of all - the leader of the pack.

In his novelistic prose, V. M. Shukshin uses different types of narration, motivated by combining the traditional structure of the narrative and the harmonious coexistence introduced by Chekhov into Russian fictional prose in the "objective" narration ("from the third person") the author's vision and the vision of the character depicted in literary and artistic work, combining them at the speech, stylistic level into a common single discourse, within which the author's speech and the hero's speech merge, and receiving an artistic image of living reality and a person in a two-dimensional range of their perception by the author and the character (see, along with the story "Wolves, and such stories by the author as "Autumn", "Persistent", "Vanka Telyatin", etc.)

Literature

1. Pankin B. Vasily Shukshin and his "freaks" // Vasily Shukshin. Stories, M., 1979 .-- S. 24 - 25.

2. Ibid. - S. 2.

3. Elistratov VS Russian truth of Vasily Shukshin (to the metaphysics of national character) // Elistratov VS Dictionary of the language of Vasily Shukshin. - M., 2001 .-- S. 402.

4. Korobov Vl. Vasily Shukshin. Creation. Personality. - M., 1984 .-- S. 191.

5. Quoted. Quoted from: Soviet Literature. Story. Feature article. Recommended literature index. - M., 1979 .-- S. 225.

7. See; Ozhegov S. I., Shvedova N. Yu. Explanatory Dictionary of the Russian Language. - M., 1997 .-- S. 114 and 597.

8. For a description of these words and expressions, see VV Morkovkin's Dictionary of Structural Words of the Russian Language (M., 1997.-pp. 38, 52, 64 - 65, 104, 128,294 - 295).

9. Rosenthal DE, Telenkova MA Handbook of linguistic terms. - M., 1985 .-- S. 199.

10. Russian grammar. - M., 1980 .-- T. 1. - S. 727.

11. See: V. V. Odintsov "Steppe". Style innovation // Russian speech. - 1980. - N 1.

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The moral problems of the 60-70s of the XX century are comprehended in the works of writers writing about the village: V. Shukshin, F. Abramov, V. Belov. These authors consider the theme of Russian spirituality. V. Shukshin is a wonderful writer who knows how to convey stories in his own way. His stories are characterized by their simplicity. Despite the outward simplicity and brevity of the plot, they are deeply moral and instructive, one feels that the author has a rich life experience behind his back. The writer, with good irony and without excessive edification, shows us what is good and what is bad, what is possible and what is not. Morality can be drawn from his stories. For example, as in the story "Wolves". Here we see what happens when people turn into animals. There are two main characters in the story, two simple Russian men. Naum is not old yet, quick, cunning and charming (probably there is some irony of the author). Ivan is strong, though a little lazy. The author immediately makes it clear that there is a disagreement between them (at the beginning of the story it is said that there was a family enmity between Ivan and Naum). They go to the forest for firewood, and they are attacked by wolves. Naum was the first to chicken out. From fear, he even lost his head, shouted: "Rob-ut!" It is clear that this person is a coward, an eternal fear for his own life lives in him, any situation causes him anxiety. At first, Ivan remained calm, cold-blooded, he even wondered at the reaction of his father-in-law. ”But when the wolves were near, Ivan also felt creepy. Anyone can be seized by fear when danger is near. The situation developed in such a way that Ivan needed Naum's help. Nahum had only to hold the horses, and then he and Ivan would have fought off the wolves. But he chickened out, and Ivan was in great danger. Naum betrayed him. The wolves attacked the sleigh and mauled the horse. Only Ivan's courage and self-control saved him, he survived. Here is a simple man for you, here you are, “naked like a falcon!”, As Nahum used to say. I survived in such a situation, did not get scared. A brave man. And Naum turned out to be a coward and a traitor. But here is the next moment of the plot. Ivan decided to settle scores with the villain. And another race began. Then the wolves were catching up with the man, and now the man was catching up with the man. How are these two better than wolves? Thirst for revenge, anger turn people into animals. This is the meaning of the title of the story. The conflict continues at Naum's house, when Ivan finally came to deal with the traitor. It's good that the policeman intervened, otherwise there would have been a murder. Thanks to this story, I finally realized for myself that cowardice is perhaps the worst vice, it often gives rise to meanness, betrayal in a person, brings to life everything bad, without which our existence, unfortunately, cannot do to this day. Almost all authors who consider the problem of morality in their works in one way or another do not undertake to solve this problem in any one way, although they have rather clear ideas about moral categories. However, showing the imperfection of a person who constantly violates the laws of morality, they nevertheless approach this topic with a certain degree of caution, trying to avoid straightforwardness, stilted images, and annoying edification.

There are two main characters in the story, two simple Russian men. Naum is not old yet, quick, cunning and charming (probably there is some irony of the author). Ivan is strong, a little lazy. The author immediately makes it clear that there is a disagreement between them (at the beginning of the story it is said that there was a family enmity between Ivan and Naum).

They go to the forest for firewood, and they are attacked by wolves. Naum was the first to chicken out. From fear he even lost his head, shouted: "They are robbing!"

It is clear that this person is a coward, an eternal fear for his own life lives in him, any situation causes him anxiety. Ivan, at first, remained calm, cool-headed, he was even surprised at the reaction of his father-in-law. But when the wolves were near, Ivan also felt creepy. Anyone can be possessed by fear when danger is near.

The situation was such that Ivan needed Naum's help. Nahum had only to hold back the horses, and then he and Ivan would have fought back. from wolves. But he chickened out, and Ivan was in great danger. Naum betrayed him.

The wolves attacked the sleigh and mauled the horse. Only Ivan's courage and self-control saved him, he survived. Here is a simple man for you, here you are, “naked like a falcon!”, As Nahum used to say. I survived in such a situation, did not get scared. A brave man. And Naum turned out to be a coward and a traitor.

But here is the next moment of the plot. Ivan decided to settle scores with the villain. And another race began. Then the wolves were catching up with the man, and now the man was catching up with the man. How are these two better than wolves? Thirst for revenge, anger turn people into animals. This is the meaning of the title of the story.

The conflict continues at Naum's house, when Ivan finally came to deal with the traitor. It's good that the policeman intervened, otherwise there would have been a murder.

Thanks to this story, I finally understood for myself that cowardice is perhaps the most nasty vice, it often gives rise to meanness, betrayal in a person, brings to life everything bad, without which our existence, unfortunately, cannot do to this day.

V. Shukshin is a wonderful writer who knows how to convey stories in his own way. His stories are characterized by their simplicity. Despite the outward simplicity of the plot and brevity, they are deeply moral and instructive, one feels that the author has a rich life experience behind him. A writer with good irony and without excessive edification

Shows us what is good and what is bad, what is possible and what is not. Morality can be drawn from his stories. For example, as in the story "Wolves". Here we see what happens when people turn into animals.

They go to the forest for firewood, and wolves attack them. The first

Naum was afraid. From fear he even lost his head, shouted: "Rob-ut!" It is clear that this person is a coward, an eternal fear for his own life lives in him, any situation causes him anxiety. At first, Ivan remained calm, cold-blooded, he even wondered at the reaction of his father-in-law. ”But when the wolves were near, Ivan also felt creepy. Every person can be possessed by fear when danger is near.

The situation was such that Ivan needed Naum's help. Nahum had only to hold the horses, and then he and Ivan would have fought off the wolves. But he chickened out, and Ivan was in great danger. Naum betrayed him.

But here is the next moment of the plot. Ivan decided to settle scores with the villain. And another race began. Then the wolves were catching up with the man, and now the man was catching up with the man. How are these two better than wolves? Thirst for revenge, anger turn people into animals. This is the meaning of the title of the story.

The conflict continues at Naum's house, when Ivan finally came to deal with the traitor. It's good that the policeman intervened, otherwise there would have been a murder.