Literature: foreign: Analysis of the literary work of V. Shukshin "Wolves", Test

Oct 31 2010

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

They go to the forest for firewood and 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 one is a coward, he lives in eternal fear for his own, any situation causes him concern. Ivan, at first, remained calm, cold-blooded, he was even surprised at the reaction of his father-in-law. But, when the wolves were nearby, Ivan also became terrified. Every person can be overcome by fear when danger is near.

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

The wolves attacked the sleigh and tore the horse to pieces. Only Ivan's courage and self-control saved him, he survived. Here you have a simple peasant, here you have “a goal like a falcon!”, as Naum said. Survived in such a situation, not afraid. A brave man. And Nahum turned out to be a coward and a traitor.

But here's the next part of the story. Ivan decided to settle scores with the scoundrel. And another race began. Then the wolves were catching up with the man, and now the man was catching up with the man. Why are these two better than wolves? Thirst for revenge, anger turn people into beasts. 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 worst vice, it often gives rise to meanness, betrayal in a person, brings to life everything bad in him, without which our existence, unfortunately, cannot do to this day.

Almost all the authors who, in one way or another, consider the problem of morality in their works, do not undertake to solve this problem in any one way, although they have quite 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.

Need a cheat sheet? Then save it - " Moral problems in Shukshin's story "Wolves". Literary writings!

"Wolves" - one of the early stories of V. M. Shukshin (written in 1966, published in 1967 in Novy Mir). This story is somehow unlucky: it is very rarely included in the collections of the writer's works, it is practically "not noticed" by literary critics. Meanwhile, "Wolves" is a typical Shukshin story: its plot and main conflict is an episode torn from everyday rural life. The episode, as most often happens with Shukshin, is dramatic, with rich dynamics of action, with a heat of emotions. In it (episode) - and this is also typical for Shukshin - human characters are highlighted. The story is also typical in the author's stylistic manner.

First of all, we note the appeal to the colloquial element as the main arsenal of speech means; the 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 colloquial element. This side of the writer's literary style is noted in the literature about him. So, 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 would like to repeat this truth. With one, however, clarification. easily, naturally, like mercury, taking any form. It is her element that makes up the fabric and content of stories, their building material. It is she who is heard in the dialogues, and in the monologues of the characters, and in the laconic author's comments "1. The compositional-speech structure of the story is clearly dominated by dialogue.

Sparing on words, on expressive colors, at the same time accurate, energetic, emotionally intense, semantically complicated characterization of the characters, their actions, plot situations, meaningful brevity, laconic syllable, characterized by semantic capacity and dynamism of presentation. These qualities of Shukshin's writing style are correlated with the stylistic properties of colloquial speech. The same B. Pankin connects the "meaningful" brevity of Shukshin's style with his predilection as an artist of the word for colloquial speech. "The language of stories," writes a literary critic, "is artistically expressive, but the means of expression are unusually modest, unpretentious, 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 the poetics of the story is Shukshin) shows, such a fictional style of writing is not strictly connected with the style of "colloquialism".

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

As a result, as Professor V. S. Yelistratov writes, "at the stylistic level, we see a true simplicity, a kind of reasonable minimization of verbal texture. Nothing superfluous. A clear rhythm. No ornament" 3 .

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

From the very first works, the main character of Shukshin is a villager, a simple Russian man of a solid remarkable nature, who does not shy away from everyday hardships, or from a fierce forest beast. He has a reliable reserve of self-reliance, which gives strength to withstand extreme situations that require certain moral deeds.

Shukshin chose the Altai village, contemporary to him and native to 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 tedious monotony of everyday life, to escape from a soulless existence, devoid of traditional age-old moral foundations and poetry of agriculture, as the object of artistic research. labor, while preserving the covenants of the old people to live according to their 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 people who are close to me" 5 .

In the literary work of Shukshin, in a certain sense, the tradition of Russian classics can be traced, coming from Leskov through I. Shmelev ("I perish for my tongue") and M. Gorky. Indeed, in terms of everyday destinies, in independence in actions and judgments, in their vitality, in openness, in the immediacy of the soul, Shukshin's heroes are akin to Leskov's characters. shukshin story colloquial expression

The writer is immersed in everyday life, worldly concerns are not at all a simple "man of the people." The author is always close to his characters, he is "their own" for them, he lives in their sorrows and ... dreams. This is how Shukshin feels in his stories. He knows the village - life from the inside, firsthand, in detail. It is no coincidence that one of the literary critics called Shukshin's works "the voice of the people's thickness" 6 .

The plot of "Wolves" is simple: two villagers - Naum Krechetov and his son-in-law Ivan went to the forest for firewood. On the way they are attacked by wolves. The father-in-law got scared and left 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" his father-in-law. But he has already called a policeman, who takes Ivan to the "village prison".

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

Secondly - the very manner of describing 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 rich ; the phrase, the speech structure of the entire text are distinguished by the dynamism of the syntactic structure. Shukshin's stylistic manner is subject to the principle of "truthful simplicity", which requires the author to have the necessary sufficiency in the artistic depiction of this fragment of reality and, first of all, in the depiction of a person, his actions, in general, his inner world, "dialectics of the soul" (according to Chernyshevsky), figuratively -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, emphasizing the expressiveness of his remarks. Here is one of Ivan's remarks (at the beginning of the story): - ... I would rather go to dig a water pipe, trenches: I gave it my all, but then without grief - water and heating. Here the verb to give all the best means to give, to spend all your strength on something, refers to colloquial speech (originally it was most common in the speech of athletes). The verb to lay out is expressive and contributes to the dynamism of the statement. This confirms the comparison with possible synonymous replacements: 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 unexpressive.

Another illustration: - It's bad in the village! .. It's better in the city<...>And why are you stuck here?

(Remark of Ivan's father-in-law.) The verb priperit refers to colloquial (literary) speech, is part of the roughly colloquial vocabulary, it is used in emotionally tense situations when the speaker expresses his great dissatisfaction with the arrival of someone. This is quite consistent with Naum's negative attitude towards his son-in-law, as well as the context of a far from friendly dialogue between them. (Let's note an important circumstance for the full perception of the text of this story: and give all the best, and pin down, as, indeed, other words related to colloquial speech, and today - at the beginning of the 21st century, almost 40 years later, act with the same stylistic characteristic 7.)

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

Yours has been taken,” he said. - Eat, bastards<...>

Well, wait! ... Wait a minute, 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 the fight with the wolves:

Betrayed, snake! I will teach you. You won't leave me, stop better. I'll beat one

it wouldn't be so embarrassing. And then I’ll mark it in front of people<...>

Now - stopped, keep your pocket! - Naum whipped the horse. “Damn bastard... where did you get on our head?”

In these replicas, we see a whole set of words and expressions endowed with bright colors of "reduced" expression, "charged" with negative emotions. The selected lexico-phraseological units belong to common speech or to the category of coarse colloquial vocabulary and phraseology, to colloquial (literary) speech, as well as to everyday words and expressions of colloquial speech. Only one word betrayed belongs to book speech.

In the above replicas, 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 discursive 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 speech; and outside the literary language - in colloquial speech: vernacular, dialects, jargons. In the remarks cited here (and others), such words and expressions include, but, once, hold your pocket ... 8

2. Typical for colloquial use in affective constructions of the relatively interrogative pronoun that in the genitive case, for example: Why did you come here ?; What are you! Are you lying?..

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

All this gives additional expressiveness to the replicas, as well as the plausibility of a real dialogue.

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

The orientation of the author to the "live", laid-back 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, to the folklore and ethnographic themes of the literary text (for example, the tales of P . Bazhov), the image of the "criminal environment" (for example, in modern detective stories or Y. Aleshkovsky), the disclosure of the inner world of the "little man" in modern underground prose with its "common intellectual", 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 energy of the actions (and speech behavior!) of the participants in the situation (often from the position of the corresponding character), emphasizing the drama of the depicted situation, the tense psychological state of the character. For example: Ivan ... hit the leader with a whip. Here the verb to warm suggests an energetic and very strong blow with a whip; refers to vernacular, common in everyday speech. The horse shied 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 move away, run away to the side, which convey only meaning, remaining unexpressive in their expressive coloring. The wolf ... jumped under the horse and with a blow of its clawed paw spread its belly along. Dissolve - a colloquial verb, here it conveys the power and vigor of the blow, the movements of the wolf, in its origin it refers to the professional jargon of tailors: when altering old clothes, the tailor cuts or breaks the threads (dissolves them) with which two halves of clothes are sewn; see also: The horse itself turned around and took it in a swing from the place; The whole flock spun with acceleration around the leader.

The tension of the situation, the energy of the actions of the characters and animals (mainly in Ivan's perception) are also conveyed by the author in "neutral", commonly used words: The wolves pliantly rolled down the mountain in gray lumps; the slightest delay, and they [the wolves] will immediately fly into the sleigh .., as well as the syntactic structure of sentences: Wolves<...>were very close: the slightest delay, and they would fly into the sleigh 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. Compare: Ivan clenched his teeth, grimaced... [author's ellipsis. - Yu. B.] "The end. Death." Looked ahead. Remarkable for its conciseness and emotional expressiveness, this fragment testifies to the outstanding stylistic skill of the author of the story. Two nominal sentences (End. Death), designed as direct speech, on the one hand, convey the dynamism, the psychological tension of the described situation (of course, along with other words and sentences) from Ivan's point of view; on the other hand, the marked dynamism and drama of the situation make words introducing direct speech superfluous - the first sentence directly indicates to whom the direct speech belongs.

These nominative sentences, so introduced by the author into the text, can be perceived as a kind of parcellation (recall; parcellation is "such a division of a sentence in which the content of the statement is realized not in one, but in two or more intonation-semantic units, following one after another after a separating pause... Parceled parts are always outside the main sentence" 9. Punctuation parceled parts are "drawn up" as independent sentences. degree of expression.

The last sentence (Looking 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 dynamism and drama of the described situation. The choice of the verb itself is also symptomatic: looked - from vernacular, it is typical for the speech of a villager, in general - a carrier of vernacular; in a literary and artistic work - a "product" of the book culture of the word, it is perceived as "fresh", expressive against the background of commonly used and book vocabulary. Moreover, by choosing this verb, the author once again emphasizes that the plot situation reproduced in this place in the story is "given" in Ivan's perception, from his position (see below for more on this).

2. Colloquial and colloquial 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 thus expresses his attitude to what is happening, as if on behalf of the character. As a result, such an image of an episode, scene, plot situation by language means acquires volume, stylistic stereoscopicity. For example: And another [wolf] rolled away from the pack (Ivan sees this). Here otvalivat acts in colloquial use - in a figurative sense to move away, run away from someone, something. This meaning is clarified by the combination with away from the pack and the context. This word usually acts with the meaning of sail, set sail (about a ship, about floating facilities), refers to colloquial vocabulary. Another example: the most fierce dog can still be stopped at the last moment by something<...>The adjective fierce in relation to animals (mainly - to predatory) is used relatively rarely (there is a stable combination of a fierce beast), it has an amplifying character (very cruel). It is somewhat archaic; is included in the synonymic series: angry, angry, cruel, ferocious. They usually say about dogs: an angry dog. In this context, when a wolf (a really very cruel, ferocious beast) and a dog are compared, the combination fierce dog is used on purpose. The author thus emphasizes the special cruelty of the wolf. After all, this is how Ivan perceives the leader of the wolves.

Words to warm, spin, shied away, look, dissolve, roll off, fierce - from the scene of Ivan's fight with the 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 colloquial gerund participle pity (in the literary language it is regarded as obsolete, it is commonly used in folklore texts, when stylized "like folklore") and the colloquial verb to smell in sentences: Naum, pitying daughter, endured son-in-law; [He] sensed unkindness in his son-in-law's voice - one can clearly feel the "voice" of the character - Naum Krechetov. First, here the verb to regret appears in the dialect meaning "to love"; secondly, the form of the gerund in -uchi (-yuchi) contains additional sociocultural information, in this case about Naum as a carrier of vernacular. The colloquial word "smell" is quite 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 has actually betrayed him, leaving him alone with the wolves. Therefore, "neutral" felt, 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 colloquial 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 Naum's remark: On the one hand, of course, it's good - plumbing, on the other - trouble ... then you would have completely overslept - the semantics of the noun trouble is due to its syntactic position of the predicate. The meaning of the verb to quit in the sense of falling behind someone, stop doing it, thinking about it is realized only as part of a syntactically stable combination - see the policeman's remark about Naum, addressed to Ivan: "Yes, leave him!"

The meanings of the verbs to accept, earn, pour in the corresponding replicas: - Accepted a little for eloquence; - No, I have to mark him. - Well, you will earn ...; - Poured some balls<...>- phraseologically conditioned.

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

In depicting the emotional state of the characters, the dramatic intensity of the plot situation, in the expressive expressiveness of the dialogues and, to a large extent, in the author's speech, in recreating the "naturalness" of a real dialogue in the characters' replicas, along with the vocabulary and phraseology of colloquial speech and vernacular, as already noted, grammatical units and derivational 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 vernacular speakers, as well as into the speech characteristics of the characters in the story.

Of the syntactic phenomena of colloquial speech, we note the parataxic association of verbs (let's go for firewood; go for a walk; let's go play chess), the actualized word order in the statement, 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, and not bark - Ivan's response to the interrogative remark of his father-in-law: - What are you? Are you barking?..; see also Ivan's remark (it is in bold) in the context of the dialogue: - I wanted to teach your dad a lesson ... How to be a man<...>- Just a little: so that you are a man. And you are the skin. I will still teach you.

Of morphology, it is primarily particles that attract attention with their expressiveness, mainly modal particles (they "introduce different meanings of a subjective attitude to what is reported into the sentence" 10). For example: get up; poured balls - then, come on!, but because ...; what, without firewood to sit ?; Here (pointing particle) because 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!; What the hell!... (they refer to the discourse words mentioned above).

Another morphological means of expressiveness is non-normative forms of different parts of speech (adjective, noun, verb), characteristic of the non-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 required by the literary norm) - they got him a horse, and he but still dissatisfied; ... and the horse would be whole; genitive pad end. plural the number of masculine nouns in -tel (Do you know where they put such pathogens? - instead of the normative pathogen); in a remark by Naum, answering Ivan with obvious hostility towards him, recalling the remark of his son-in-law before a trip to the forest about the advantages of city life: The teacher turned up! snot<...>And even dissatisfied with everything: plumbing ov, you see, no - the non-normative plural form of the word plumbing 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. radio, television, Internet and etc.), but acceptable in affective speech, in a dispute, etc.; non-normative form of the personal ending of the verb to rob (Rob yu-ut! - he shouted in a frenzy, whipping his horse).

From word formation, we note the nouns with diminutive suffixes characteristic of informal colloquial speech: -chik- (Darling and gray-gray. Exposed); 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 with acceleration; Naum whipped the horse).

Literary critics and researchers of Shukshin's artistic prose have long noticed the continuity of his style with the style of Chekhov's prose (see, for example, the indicated works of V. S. Elistratov, Vl. Korobov).

First of all, they write about Shukshin's optimally concise manner in reproducing the world of things and nature, and most importantly, in conveying the inner world of heroes, in revealing the emotional tension of the state of mind, speech behavior, actions of characters, the dynamism of plot situations, scenes, 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 the wolves and especially the leader of the wolf pack.<...>Ahead waved away a large, busty man with a scorched muzzle...<...>And now Ivan realized that a wolf is a wolf, a beast<...>This one, with a scorched muzzle, could only be stopped by death. He did not growl, did not frighten ... He caught up with the victim. And his round yellow eyes were straight and simple<...>The leader twice looked directly at the man with his yellow round eyes...<...>The leader looked at him once more... And this look, triumphant, insolent, angered Ivan. He raised an ax<...>rushed to the wolves<...>the leader looked attentively and directly<...>

An extremely brief portrait of the leader, in which, along with expressive "external signs", a memorable psychological appearance of the wolf is given: large, busty, with a singed muzzle; waved away (an indirect assessment of the power of the wolf); round yellow eyes; his round yellow eyes were direct and simple; this look, triumphant and insolent; the leader looked attentively and directly.

Such conciseness in the description of the wolf can be explained by the "urgent" 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 the wolves, the swiftness of what is happening, the psychological state of the character (Ivan), who finds 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 sleigh<...>And it wasn't 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 “grab” the main thing in his external and psychological appearance.

Meanwhile, it is precisely such a “stingy” in stylistic colors, practically devoid of “pictorial and expressive means” that ascertains the appearance and psychological appearance of a wolf due to Shukshin’s general attitude to the laconic literary style with the ideological-aesthetic, expressive-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 style 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, in the author's speech, as it were, the hero's "voice" is directly present, his perception of plot events, situations, collisions, including in speech forms inherent in this character. The hero becomes, together with the author, the subject of an artistic narrative.

Chekhov undertook such an experiment (and it must be said, an experiment that has become part of the artistic practice of Russian realist writers) in The Steppes 11 , and 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 narrative. Already in the first paragraph of the story, Ivan Degtyarev’s “point of view”, the “attitude” of Ivan Degtyarev towards his father-in-law is contained: On Sunday, early in the morning, father-in-law, Naum Krechetov, an old, smart man, cunning and charming, appeared to Ivan Degtyarev. Ivan did not love his father-in-law; Naum, pitying his daughter, endured Ivan.

Let's take a look at 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 sense of coming somewhere is used in a business style (the Witness did not appear in court), is used ironically, with a touch of ill will, when the speaker wants to emphasize, emphasizes the undesirability or untimeliness of someone's coming to him (cf. proverb " Appeared - not dusty"). Ivan's negative attitude towards Krechetov is immediately confirmed by the author's statement: Ivan did not like his father-in-law<...>Obviously, the verb to appear in this paragraph conveys Ivan's attitude to the arrival of his father-in-law.

Rob-ut, - he [Naum] shouted deafeningly, whipping his horse<...>

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

Ahead waved a large, busty, with a scorched muzzle ... Already only fifteen or twenty meters separated him from the sleigh. Ivan was struck by the dissimilarity of a wolf with a sheepdog<...>

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

Shukshin combines the traditional way of "inclusion" of the character, his "subjective zone" in the author's speech (for example: And now Ivan realized that the wolf is a wolf, the 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 bold italics in this text), but without the words "introducing" the speech, point of view, reaction of the character:<...>The most ferocious dog can still be stopped at the last moment by something: fear, affection, an unexpected imperious cry of a person. This one, with a scorched muzzle, could only be stopped by death. He did not growl, did not frighten ... He caught up with the victim. And his round yellow eyes were direct and simple.

A similar thing is observed in the further description of the fight with the wolves (a few lines later):

Ivan was seized with real fear.

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

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 immediately fly into the sledge - and the end. Ivan threw a piece of hay; the wolves ignored it<...>

<...>Everything happened so monstrously quickly and simply that it looked more like a dream. Ivan stood with an ax in his hands, looking confused<...>. The leader looked at him once more... And this look, triumphant, insolent, angered Ivan. He raised his ax, yelled with all his strength and rushed to the wolves. They reluctantly ran back 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 cursed him with the worst words he knew<...>

Undoubtedly, in the first fragment (especially the second part of the non-union sentence:<...>the slightest delay, and they will immediately fly into the sleigh - and the end), and in the second (especially that part of it, which is limited to the words Everything happened ... 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, motivatedly combining the traditional structure of the narration and the harmonious coexistence introduced by Chekhov into Russian fiction prose in "objective" narration ("in the third person"), the author's vision and the character's vision of what is depicted in literary and artistic work, combining them at the speech, stylistic level into a common single discourse, within which the speech of the author and the speech of the hero merge, and obtaining an artistic image of living reality and a person in a two-dimensional range of their perception by the author and character (see, along with the story "Wolves, and such stories by the author as "In the Autumn", "Stubborn", "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 V. S. Russian truth of Vasily Shukshin (to the metaphysics of national character) // Elistratov V. S. Dictionary of Vasily Shukshin's language. - 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 index of literature. - 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 the Dictionary of Structural Words of the Russian Language by V.V.

9. Rosenthal D. E., Telenkova M. A. Reference book of linguistic terms. - M., 1985. - S. 199.

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

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

Story-character. The characters of the father-in-law and son-in-law are manifested not only through a collision with each other, but also through a collision with the elements - wolves.

Issues

The moral problematic of the story is connected with what a person should be like. Neither Ivan nor Naum passes the test of humanity, although for different reasons. Naum is ready for any meanness, and Ivan is ready for the use of brute force, just to achieve his goal and defeat (in words or in deed) the “enemy” - a person.

Heroes of the story

Naum Krechetov- a cunning and charming man, quick, not yet old. Naum tolerated Ivan, "pitying his daughter", agreed on firewood. He notices everything, for example, that Ivan is hungover. Getting into an extreme situation, Naum loses all rationality.

When the peasants met with the wolves, Naum was so frightened that he began to shout "rob" and run away on his sleigh. Four times Ivan asked Naum to hold his horse, but Naum cared, first of all, about his life. He saw that Ivan was in mortal danger, but not only did not stop to help, but even turned away. Around the corner, in a safe place, he waited for his son-in-law, because "it was still not easy on his conscience."

Naum is glad that Ivan is alive, but he is afraid that Ivan will beat him, so he whips the horse again, and Ivan cannot catch up with him on foot. Cunning Naum thinks out how not to be beaten. While Ivan gets to his father-in-law's house, he calls his daughter and a policeman.

It is not for nothing that Ivan considers his father-in-law to be inhuman. Realizing that his deed is low, instead of justifying, Naum begins to accuse Ivan of all sins. And in the fact that Ivan came to the house for everything ready, and in the fact that he would like to live in the city, and even in the fact that Ivan came to the village to incite the people against the Soviet regime. This was a serious accusation, which, if Nahum had said it under Stalin, could have led to arrest. But the story was written in 1967, so the policeman, taking Ivan's side and feeling sorry for him, quickly takes him out of the hut, comforts him, and promises to play chess with him in the department.

Ivan Degtyarev

This is a typical Shukshin hero, guided not by common sense, but by heartfelt impulses. Ivan is lazy, likes to drink. He dreams of an easy life in the city, where he can work and then relax.

At the moment of the attack of wolves, Ivan sees the situation as if from the outside, his fear is mixed with burning curiosity. For a while, Ivan taunts his father-in-law, who is behaving like a madman, shouting "robbery". Feeling fear for his life, Ivan asks Naum to throw him an axe. He addresses Nahum more and more emotionally as the wolves approach: father - such a bastard - father, bitch.

Wolves

Five wolves are full-fledged heroes of the story. Unlike humans, they act in concert. The flock drives the victim in the usual way, moving across the horse. Ivan understands that only death will stop the leader.

The man and the wolf in the story strive to win in order to survive. Unlike humans, wolves have a strict hierarchy. The leader levels the formation by using his fangs. Each of the wolves knows what his role is in hunting. Not so with people. Father-in-law and son-in-law insult and offend each other all the time, as if figuring out which of them is more important. Naum saves his life and is not going to act in the interests of another.

Ivan takes the place of the same wolf from which he ran away earlier: “Another race began: a man was catching up with a man.” But Naum also behaves like a hunter ambushing a wolf. Shukshin compares the behavior of wolves who kill to eat and survive, and people who destroy each other for self-affirmation.

Plot and composition

The story is based on an adventure connected with the chase. First, the wolves are chasing people, then Ivan is chasing Naum, and at the end Ivan is caught. Through the chase, Shukshin defends his idea: a man is no better than a wolf if he is immoral.

Stylistic features

Extra-plot elements are important in a story. Shukshin does not give a portrait of human heroes, but he describes in detail the appearance of a wolf: large, busty, with a scorched muzzle, with round yellow eyes, whose gaze is straight and simple.

Three short sentences depict a landscape.

The peace and sleep of a sleigh ride through a quiet winter forest is interrupted by the appearance of wolves. Shukshin uses short incomplete sentences without subjects. Only in the last incomplete sentence do disturbers appear: “We came out of the forest, stand, wait. Wolves."

The speech of the characters is their main characteristic. Through the cry of Naum “robbed”, his animal fear is transmitted, the rude words of the men are a manifestation of their emotions. The worldly wisdom of Naum is supported by proverbs.

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

They go to the forest for firewood and 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, he lives in eternal fear for his own life, any situation causes him anxiety. Ivan, at first, remained calm, cold-blooded, he was even surprised at the reaction of his father-in-law. But, when the wolves were nearby, Ivan also became terrified. Every person can be overcome by fear when danger is near.

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 worst vice, it often gives rise to meanness, betrayal in a person, brings to life everything bad in him, without which our existence, unfortunately, cannot do to this day.

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 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 plot unpretentiousness and brevity, they are deeply moral and instructive, it is felt that the author has a rich life experience behind him. The writer with kind irony and without excessive edification shows us what is good and what is bad, what is possible and what is not. Morals 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 peasants. Nahum is not old yet, smart, cunning and charming (probably, there is some irony of the author here). Ivan is strong, though a little lazy. The author immediately makes it clear that there is disagreement between them (at the beginning of the story it is said that there was family hostility between Ivan and Naum). They go to the forest for firewood and are attacked by wolves. Naum was the first to chicken out. From fear, he even lost his head, shouted: “Robbing!” It is clear that this person is a coward, he lives in eternal fear for his own life, any situation causes him anxiety. Ivan, at first, remained calm, cold-blooded, he was even surprised at the reaction of his father-in-law ”But when the wolves were nearby, Ivan also became terrified. Every person can be overcome by fear when danger is near. The situation developed in such a way that Ivan needed Naum's help. Naum 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. Nahum betrayed him. The wolves attacked the sleigh and tore the horse to pieces. Only Ivan's courage and self-control saved him, he survived. Here you have a simple peasant, here you have “a goal like a falcon!”, as Naum said. Survived in such a situation, not afraid. A brave man. And Nahum turned out to be a coward and a traitor. But here's the next part of the story. Ivan decided to settle scores with the scoundrel. And another race began. Then the wolves were catching up with the man, and now the man was catching up with the man. Why are these two better than wolves? Thirst for revenge, anger turn people into beasts. 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 worst vice, it often gives rise to meanness, betrayal in a person, brings to life everything bad in him, without which our existence, unfortunately, cannot do to this day. Almost all the authors who, in one way or another, consider the problem of morality in their works, do not undertake to solve this problem in any one way, although they have quite 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.

Women's Portal Flero

Issues

Heroes of the story

Plot and composition

Stylistic features

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