These girls share the same age, but their fates are very different. Although Marusya lost her mother in such a early age but she lives in excellent living conditions. Nothing threatens her life, she has a house, her own bed, many toys, she lives in warmth and comfort, but most importantly she has food, without which not a single living creature can live. The girl has a carefree childhood, she is surrounded by care and love.
And little Sonya lives surrounded by stones, she does not have a permanent roof over her head, she lives in darkness, dampness, cold, the worst thing is that she has to starve, she is so small, but she has experienced a lot. She sees almost no sunlight, she languishes in a cave, fading away like a small flame. The good news is that she is surrounded by people who love her, who are trying to do everything possible for her happy life, but, alas, they do not succeed. The life of a little girl was interrupted before she could begin.
At the beginning of the work, the reader greatly regrets Vasya and Sonya, because they lost their mother, but then we see Valek and Marusya, children whose fate was even worse. Their situation is so hopeless that even theft is justified, because without it they would not have survived. The author contrasts the childhood of two children, wants readers to become kinder to others, so that they do not see evil in the destitute, but, on the contrary, try to help them.
Lesson 4
Compare - is to compare, i.e. put 2 objects side by side and consider them from some general point of view in order to find similarities and differences between them.
Consequently, Comparative characteristics two literary heroes- this is a comparison of two heroes from a common point of view, in order to find similarities and differences between them.
This general point of view is basis comparisons. If you can't find a basis for comparison, then you can't compare.
The theme of an essay-reasoning of a comparative type is usually formulated as follows: "Valek and Vasya", "Pan Tyburtsy and the judge", "Sonya and Marusya". One can compare not only literary heroes, but also two writers, two periods in the development of literature, two works of the same or different writers etc..
We have to compare Marusya and Sonya, since V.G. Korolenko in the images of these girls presented two models of childhood. You can compare them according to the following plan:
Plan.
Marusya and Sonya: two childhoods.
1. Find the portrait characteristics of Marusya and Sonya.
2. Compare the heroes according to the following plan:
A) appearance
B) clothes;
B) character traits;
D) what they are doing.
3. What artistic technique does the writer use to create portrait characteristics girls?
4. How does Vasya feel about Marusa and Sonya?
5. Why V.G. Korolenko contrasts Sonya and Marusya?
6. Write a sin quain on one of the topics: “Sonya”, “Marusya”.
Let's work with the table Language means for expressing similarities and differences and for speech transition from one part of the comparison to another"
|
What are they for? |
Examples |
|
1) To express similarity. |
The words:
"similar", "similar", "same", "similar", etc. Pronouns
"both" ("both"). |
|
2) To express differences. |
Antonyms:
turns of the type: "the differences between Sony and Marousi (is) that"; "Marusya and Sonya differ in that ...", etc. |
|
3) For speech registration of the transition from one part of the comparison to another. |
Turnover type: "Now consider the distinctive (similar) features of Marusya and Sonya"; "despite the similarities (or differences), there are differences (similarities) between Marusya and Sonya", etc. |
Look at the table and find answers to the following questions:
What linguistic means can be used to express similarity? differences? for the speech design of the transition from one part of the comparison to another?
The whole atmosphere of the dungeon made a painful impression on Vasya. He was amazed that people lived in it, because what he saw said that it was impossible to live.)
^ What was the saddest part of this picture?
(These people are thrown out of society, they are victims of social circumstances.)
(The saddest thing in this picture was Marusya, barely standing out against the background of the gray stone as a strange and small misty spot. All this strikes Vasya. He clearly imagines how cruel, cold stones suck the life out of her.)
^
4.
How do you understand the words about the gray stones that sucked the life out of Marusya? What is the name of the artistic medium that the author uses?
(Referring to students' drawings)
^ What is the symbol of the "grey stone"?
(gray stone- hunger, cold, ruthlessness, callousness, fear, indifference.
Gray stone - symbol human cruelty, the injustice of the laws that make one suffer about it. This regret squeezed his heart)
^ Compare the living conditions of Marusya and Sonya and how these conditions affected the appearance and character of Sonya and Marusya.
Expressive reading of the portraits of Marusya and Sonya (pp. 23-24-25).
Find artistic means expressiveness (epithets, comparisons), with the help of which the author expresses his attitude.
Is it possible to say that the author admires Marusya, her beauty (blond hair, turquoise eyes, long eyelashes).
^ Find the details of the portrait that show the sympathetic attitude of the writer towards his hero.
(A tiny creature, crooked legs, a head like the head of a field bell, the dress is dirty and old, staggered like a blade of grass.
Read Sonya's portrait.
Which author shows this girl?
What caused the girls to look different?
(Living conditions: Marusya was a beggar, homeless; Sonya from "decent society").
Research 3.Artistic possibilities of antonyms.
In the work of V. G. Korolenko “In Bad Society”, the author describes two girls - Sonya and Marusya. Marusya is from a poor family, and Sonya is from a rich one. Let's find antonyms in the text and try to understand their artistic possibilities.
Marusya
It was a pale, tiny creature, like a flower that grew without the rays of the sun. Despite her four years, she still walked poorly, stepping uncertainly with crooked legs ... her hands were thin and transparent; the head swayed on a thin neck, like the head of a field bell; eyes sometimes looked so unchildishly sad ...
My little friend hardly ever ran, and very seldom laughed; when she laughed, her laughter sounded like the smallest silver bell, which was no longer audible for ten steps. Her dress was dirty and old, there were no ribbons in the braid, but her hair was much larger and more luxurious than Sonya's.
Sonya
I involuntarily compared her to my sister; they were the same age, but my Sonya was round as a donut and elastic as a ball. She ran so briskly when she used to play out, she laughed so loudly, she always wore such beautiful dresses, and every day the maid wove a scarlet ribbon into her dark hair.
Portrait of Marusya
The portrait descriptions of Marusya in the story are concentrically deployed. The principle of concentricity allows you to "physically" keep the hero in the reader's field of vision. This feature is inherent not only in portrait images, but is a stable sign artistic style V.G. Korolenko as a whole. This, among other things, explains the use in the text of a number of constant epithets, comparisons, metaphorical images ( gray stone, for example). The portrait details in the narrative are periodically repeated, varying, continuously interacting with the context. The detailed detailing of the portrait of Marusya corresponds to the idea of the image: Marusya is so small, tiny because gray stone exhausted her. The persistent repetition of details creates the rhythmic monotony of the motif of the inevitable death of this innocent creature: a little girl - a tiny, sad figure - a small grave.
The reception of pre-signaling is another feature of the style associated with the concentric structure of the description of appearance. Not childishly sad smile of Marusya reminds Vasya of the late mother in last days her life. Tinyness, pallor, even blond hair are also preliminary signals. All these signs artistically merge in the picture of the ghostly, ephemeral existence of Marusya - little misty speck almost indistinguishable in the stream of sunlight. One can trace how the semantic connections of the epithet expand from chapter to chapter. small- the starting point for describing the appearance of Marusya.
Chapter I. Actually, little is said about Marus: a little girl in the arms of Pan Tyburtsy. At the very beginning of the chapter, we learn: Vasya's mother died, Vasya has a little sister Sonya.
Chapter II. Nothing is said about Marus. But again, Vasya's little sister is mentioned, about the pale face of his late mother, about the flowers that covered her.
Chapter III. About Marus: dirty face; blond hair; Blue eyes; unsteady steps; little hands, tiny. Epithet small branched out into a number of more particular definitions, reflecting the tragic essence of the image. The depths of the originally supposedly neutral epithet are revealed.
Chapter IV. About Marus: little hands; pale face; pale, tiny creature; crooked legs; hands are thin and transparent; the head swayed on a thin neck; muffled laughter; the dress is dirty and old; sad; movements are slow; the eyes stood out a deep blue in the pale face; long eyelashes lowered; a tiny, sad figure, from which the gray stone sucked the life. Here - a direct comparison of Marusya and Sonya, Marusya and Vasya's dying mother, numerous references to flowers. Repetitions, variation of previously listed features, addition of new ones.
Chapter V. About Marus: blond head; a strange and small misty speck that seemed about to blur and disappear; tiny figurine of a girl.
Chapter VI. About Marus: she rang with the faint tints of her pitiful laughter and slapped on the stone floor with slow legs; blond hair; turquoise eyes. Definition small reveals more and more fully: Marusya is not just a little girl, but because she lives in poverty, somewhere in a cemetery, in a dungeon.
Chapter VII. About Marus: she kept losing weight; her face grew pale; eyes darkened, became larger; the eyelids lifted with difficulty; wanes more and more; the soft ripples of her faint laughter; sad smile. Development of a given topic - small- continues: a small life is declining, predetermined by social reasons.
Chapter VIII. About Marus: she looked indifferently with large, darkened and motionless eyes; withered like a flower in autumn; blond hair scattered over the pillow; closed eyes slightly tumbled and even more sharply shaded blue; her body was removed autumn colors. Portrait details are forced out of the description of autumn colors in a meaningful way. The main thing here is the contrast arising from the comparison: the early death of Vasya's mother is the death of Marusya. Randomness and regularity.
Conclusion - in connection with Marusya: the lights on the graves on dark autumn nights flash with a blue ominous light; the grave was full of flowers; over a small grave. In relation to the image of Marusya, the epithet “small” turns out to be the focus, semantic center the whole story.
CONCLUSION:
You and I, guys, see that antonyms help the writer draw portraits of girls, show the difference in their destinies. In artistic speech, antonyms can be words that are usually not perceived as antonyms. Whole phrases can also be opposed.
Understanding the symbolism of the gray stone as a figurative characteristic of the orders that existed in the country that choked all living things is difficult, and the Reader must help them come to the right conclusion. Vasya is no less shocked when he learns not only where his friends live, but also how they earn their livelihood.
What does Vasya feel when he learns about the beggarly life of Valek and Marusya? - ask us. In order to answer the question, it is useful to read in faces and analyze the dialogue between Vasya and Valek, turning Special attention to the author's remarks with which the writer characterizes the intonation of each. We ask: “Why did Valek grin when he heard Vasya’s question about buying rolls? Why is Vasya's voice, when he talks about the inadmissibility of theft, sad reflection? Why, guessing about the plight of his friends, Vasya asks: “Are you ... beggars?” - in a low voice? “Beggars!” Valek snapped sullenly.
Working on a dialogue, on each author's note separately, will help students understand the drama that was going on in Vasya's soul: the son of a judge, a man of crystal honesty, high moral rules, Vasya early childhood imbibed with all his being unshakable moral truths: you can’t steal, lie, offend the weak. In life, everything turns out to be more complicated: his friends, whom he loves and respects, are not only beggars, but also thieves.
From the point of view of the morality learned by Vasya, Valek's act deserves condemnation, it is no coincidence that Vasya is in sad reflection. And at the same time, the reason that his friend puts forward in his defense seems to Vasya quite serious: after all, Marusya, the most trusting and defenseless creature in the world, is starving. Vasya cannot hear Marusya's plaintive words, cannot see how she greedily squeezes a piece of bread with both hands. Realizing how hard life is for his friends, Vasya experiences deep suffering, not being able to help: his heart ached, something turned in his chest, love ... did not become weaker, but a sharp stream of regret was added to it, reaching a heartache .
It is important to bring us to the understanding that this period in the formation of the boy’s consciousness is of decisive importance: to condemn the Tyburtsy family for the shameful theft by which they live, and step aside or find in the soul an excuse for their way of life, realizing that they are leading to this. terrible living conditions?
“What decision does Vasya make in relation to his friends? In what phrase of the boy does this decision sound? How is it confirmed by Vasya's behavior? What impression does Tyburtsy Drab make on Vasya? - these are the questions that help the teacher organize the further course of the conversation with us.
Vasya remains faithful to his friends, - the Readers answer. - He resolutely tells Valek that he will always go to them. And these words sound like an oath of friendship, which nothing will shake. With all his behavior, Vasya confirms his words: he does not make it clear to the children how hard it was for the news of their begging; he tries not to give the appearance that he is unpleasant to stay in their "house"; he courageously endures the wrath of the formidable Pan Tyburtius and seeks his favor. Vasya's friendship withstood a very important test. And the boy emerged victorious from it.
The meeting with Tyburtsiy leaves a big mark on Vasya's soul. Readers should think about the question: "What is remarkable about the appearance of Tyburtius?" As a result of the conversation, we come to the conclusion that the narrator, with the help of a portrait, seems to lift the veil over the difficult, tragic life of this remarkable person, in whose appearance both monkey mobility, cunning, and deep sadness, and sharp insight, energy, mind coexist. This will help schoolchildren to understand the features of the “wonderful personality” that aroused such a burning interest in Vasya.
Vasya knows that children love Tyburtsy. Valek often repeats his statements, the authority of which is immutable for him. Marusya affectionately and trustingly reaches out to Tyburtsy, knowing his kindness. She resolutely defends Tyburtsiy from the assumption that he might offend someone: “Don't be afraid, Vasya, don't be afraid! - says the girl. - He never fries the boys on the fire ... It's not true! Tyburtius also loves his own, caresses them, takes care of them. It is this kind of human attention, participation that Vasya lacks in his own family, which is why he reaches out to the Tyburtsy family, feeling comfortable and confident here.
The astute Tyburtius immediately appreciates this unusual friendship. He sees how attached his children are to the boy. Valek is worried, afraid that Vasya will not be allowed to visit them. Marusya with full conviction removes from Vasya the terrible suspicion that he will someday judge Valek. Tyburtius likes simplicity, courage, Vasya's restraint, his fidelity in friendship, the ability to keep a secret. Let us draw the attention of schoolchildren to the moment of the conversation when Tyburtsy, joking with Vasya, calls him a judge and suggests that Vasya will eventually judge Valek.
- - Why was Vasya so offended and angry when he heard these words? - we will ask the students. The children answer: “He was offended that they might think of him like that. After all, Vasya believed that only bad people guilty of any crimes were judged. Valek and Marusya, from his point of view, were not guilty of anything. He understood that they were unhappy, but not criminal.”
Tyburtsy speaks flatteringly about Vasya, calling him a decent fellow, a man who has a piece of a human heart in his chest. This high appraisal and farsighted definition of Vasya's further behavior ("...maybe it's good that your path ran through ours") characterize not only the boy, but above all Tyburtsy himself as an outstanding personality. This man with a difficult, broken fate, having sunk to the very bottom of life as a result of an unequal struggle with the existing system and its unrighteous laws, managed to preserve the best human features.
Making a conclusion about the changes that occur in Vasya's mind under the influence of Tyburtius and his own, the Reader will note that the "vague questions and feelings" that worried the boy indicate that he is no longer thinking only about the fate of his friends, but also about the surrounding life, where the laws of social inequality reign: the domination of some, begging and lack of rights of others.
More from the site
Talking about the last days of Marusya, Readers first of all refer to the description of the appearance of the sick girl. It is important that they follow the dynamics of the portrait (face, eyes, smile, laughter, etc.) and understand that changes in the details of the hero's appearance are often evidence of internal changes as well. So, through the external signs of the portrait of the heroine, the writer depicts her gradual extinction. More recently, Ma-rusya “rang with the faint tints of her miserable laughter and slapped on the stone floor with slow little legs” (Chapter VI), but then the leaves began to turn yellow, and with them the girl’s illness began to make itself felt. Marusya "was getting thinner, her face was turning pale, her eyes were darkening... her eyelids lifted with difficulty, the boys exhausted all their efforts in order to evoke the quiet play of her weak laughter, to see her sad smile" (Chapter VII).
Autumn came, the patient's condition worsened. Now she "looked indifferently ... with large darkened and motionless eyes, and we had not heard her laughter for a long time" (Chapter VIII). Only the doll was able to revive the girl, but this did not last long. The time came when Marusya looked ahead of her "with a vague look ... not realizing what was happening to her" (Chapter VIII). Drawing our attention to these changes in the portrait, we thereby teach them to be attentive to artistic details, to see what role each of them plays in revealing the features of the hero's inner world.
How does Vasya characterize his behavior during Marusya's illness? - we ask a question. Readers already know a lot about the boy, and his concern for the patient, reaching the point of selflessness, is perceived as his natural and only possible behavior. Readers note that Vasya feels needed in the Tyburtsy family. His appearance brings the girl to life. Valek hugged Vasya like a brother. Even Tyburtius looked at himself with eyes in which tears flickered. Vasya makes every effort to somehow help the grief of his friends. A boy shows special spiritual sensitivity when his father becomes -. known about the missing doll. Unable to return her to her sister - for this it would be necessary to deprive Marusya of her last joy - Vasya, with mock carelessness, declares to the saddened Valek and Tyburtsy: “Nothing! The nanny must have forgotten.” Vasya knows how hard it is for his friends now, and, not wanting to burden them with his worries, courageously takes everything upon himself.
Vasya's dedication to his friends, his mental fortitude, loyalty to his word are most clearly manifested in a conversation with his father. The reader will read the scene of the decisive explanation of the judge with his son in the class himself. This is one of the most moving episodes in the story, and it is important that readers listen to it in a good, expressive way.
With the help of a teacher, children will pay attention to the emotional experiences of the acting characters. This will help them understand more deeply. inner world everyone. Readers are well aware of the content of the conversation. Without turning to the text for now, we invite them to think: what did the father and son experience before the conversation began?
The children caught the main tone of the passage and, without hesitation, answer that Vasya was worried and afraid of this meeting. He was frightened by the formidable, impregnable appearance of his father. Vasya felt guilty, as he deceived his father, did not tell him where he spends all his time. The father was very angry with Vasya, considering him an egoist who gave unknown people a doll given to her by her late mother.
Before the conversation began, Vasya timidly stopped at the lintel. He noticed the sad autumn sun, felt the alarming beat of his own heart; raised his eyes to his father and immediately lowered his neck to the ground. The father sat in front of the portrait of his mother and "did not turn" to Vasya. When he turned around, his face was terrible. Vasya felt a heavy, motionless, overwhelming look on him. During the conversation, the father's words about the doll fell sharply on Vasya, he shuddered. After all, he is accused of the most terrible dishonest theft of a gift from a dead mother. That's why the father's face was pale, his eyes burned with anger.
Despite the fact that Vasya cringed under the gaze of his father, lowered his head lower and lower, bitter tears burned his cheeks, he does not betray his friends with a word, at that moment experiencing not fear, but an offended feeling of an abandoned child and burning love for those who warmed him there, in the old chapel. The appearance of Tyburtius interrupts the difficult scene.
The children note that the judge met Tyburtsy with a gloomy and surprised look, which he calmly endured.
Tyburtius feels he is right. He came here to protect Vasya from unfair reproaches. He knows that he must make the pan judge listen to himself, so he speaks calmly and gently, not wanting to irritate an angry person.
Tyburtsy's endurance, his kind, affectionate attitude towards Vasya defeat the judge's wariness, make him listen to the words of a homeless beggar. We do not know, but only assume what Tyburtsiy and the judge were talking about. However, it is hardly worth recommending to the students the task: “What did Tyburtsiy say to Vasya’s father?”, as is sometimes practiced. The content of the sayings of Tyburtius is so obvious, but the observance characteristic style his speech is so inaccessible to children that such a task will generate only helpless answers, unsuccessful attempts to "complete" the writer. It is much more useful for schoolchildren to trace how the external behavior of the judge (in his gestures, facial expressions, posture) manifests a new attitude towards his son. Reading the work, the children will pay attention to the fact that at first the judge put a heavy hand on Vasya's shoulder, this hand was trembling. After Tyburtsy's first words, the father's hand, holding Vasya's shoulder, loosened. Finally, after the judge's conversation with Tyburtsy, Vasya again felt someone's hand on his head. It was the father's hand, but now gently stroking Vasya's hair. A sparing but expressive detail subtly conveys the nature of Vasya's father's experiences (from anger to amazement and from him to trust and affection).
The closeness that arose between father and son will become even more understandable when we pay attention to how, in turn, Vasya touchingly expresses his attitude to his father: “I trustfully took his hand”; “I grabbed his hand with alacrity and began to kiss it”; "Long held back love flooded into my heart."
Wishing to summarize the results of the analysis of this episode and lead us to an understanding of the nature of the judge and Tyburtsy, we propose to answer the questions: “Why was Tyburtsy sure that the judge would listen to him? What made Tyburtius come to the judge's house? What prompted the judge to say to Vasya: “I am guilty before you, boy ...”?
The first question at first causes some bewilderment of schoolchildren, but soon they realize that the answer to the question can only be understood by understanding what kind of person the judge was. And then the readers remember everything they know about Vasya's father from the story: this is Valek's statement about the incorruptibility and humanity of the judge; this is Tyburtsiy’s assessment (“Your father, little one, is the best of all judges in the world. He does not consider it necessary to poison the old toothless beast in his last lair ...”); finally, this is the attitude of the judge himself towards the evil old Janushu, whom the judge stubbornly drove out of his house, not wanting to listen to slander against the poor inhabitants of the chapel.
Although we know that the judge serves the cruel and unjust laws that exist in society, we perceive the judge himself as a highly moral person. Severe grief hardened him, made him callous towards own child, forced to withdraw into himself, but did not deprive him of a sense of justice.
Having comprehended the character traits of this stern and, in his own way, unfortunate person, Readers will now be able to answer the question posed: the observant Tyburtsiy studied Vasya’s father well and believed that the judge’s humanity, his kind attitude towards people would not allow him to repel a friendly hand extended even to such a destitute man like Tyburtius was.
Why did Vasya and Sonya come to Marusya's grave?
Vasya and Sonya came to the grave of Marusya, because for them the image of Marusya became a symbol of love and human suffering. Maybe they made vows to always remember about little Marusa, about human grief and help this grief wherever it occurs, to change the world for the better with their deeds.
Now let's do a little speech work. Since the comparative characteristics of Grinev and Shvabrin are built mainly on contrasts, it is advisable to use introductory words (“on the contrary”, “on the contrary”), the consistency of the conclusions can be conveyed using words and phrases (“since”, “the proof of this is”, “this confirms ”, “that’s why”), as well as introductory words(“means”, “thus”, “so”, “finally”), expressions are also appropriate, with the help of which you can compare in parallel (“if ... then another ...”), etc.
Vaeya also appreciated the resulting friendship. In his life he really lacked friendly attention, spiritual intimacy, real friends. Comrades in the street at the first check turned out to be cowardly traitors who left him without any help. Vasya, by nature, was a kind and faithful person. When he felt that he was needed, he wholeheartedly responded to it. Valek helped Vasya get to know his own father better. In friendship with Marusya, Vasya invested that feeling of an older brother, that care that at home prevented him from showing towards his sister. It is still difficult for Vasya to understand why Marusya is so strikingly different from his sister Sonya in appearance and behavior, and Valek’s words: “The gray stone sucked the life out of her” do not clarify, they only exacerbate the feeling of regret that hurts Vasya even more. attitude towards friends. - The linguist will offer his pupils to compare the living conditions of the judge and Tyburtsy and answer the question: “How did these conditions affect the appearance and character of Sonya and Marusya?” Detailed work on the portrait1 will not only help them to better imagine the girls, but will also add additional touches to Vasya's characterization: the way a person perceives others reveals himself in many ways.
Behind the epithets and comparisons that characterize Marusya, Readers should feel the emotional power of the literary word, see Vasya's excitement, his feelings. In the portrait of Marusya, readers easily detect the most important emotional elements; a pale, tiny creature, like a withered flower grown without the rays of the sun; she walked ... badly, stepping uncertainly with crooked legs and staggering like a blade of grass; her hands were thin and transparent; the head swayed on a thin neck, like the head of a field bell; almost never ran and laughed very rarely; her laughter sounded like the smallest silver bell; her dress was dirty and old; the movements of her thin hands were slow; the eyes were a deep blue in the pale face.
We need to draw our attention to the touching tenderness of the narrator, which comes through in his every word about the girl, the sad admiration of her beauty (blond thick hair, turquoise eyes, long eyelashes), bitter regret about the bleak existence of the child.
Sonya was the exact opposite of Marusa. Comparing the appearance of Marusya and Sonya, who was round like a donut and elastic like a ball, ran briskly, laughed loudly, wore beautiful dresses, readers will come to the conclusion about the cruel injustice of the laws that reigned in life, dooming the innocent and defenseless at home . Beginning with literary tales, studied in the fourth grade, Readers constantly conducted practical observations of the portrait, one of the most important components in the depiction of characters. In the process of studying the story "Children of the Land" favorable conditions are created when it is possible to generalize our practical observations, giving them the formulation of a theoretical and literary concept. Explaining the functional role of the portrait, the Reader will say that the writer strives to make every feature of the appearance of his hero speaking, telling about the features of his character, feelings and experiences, about the conditions of life, about the attitude of the narrator himself towards him.
So, if, getting acquainted with the portrait of a hero, we find words with a touch of affection (laughter sounded like the smallest silver bell; staggered like a blade of grass; looked with a helpless look of a slammed bird, etc.), we can unmistakably judge a kind, sympathetic attitude writer to his hero. With caressing diminutive suffixes, specially selected similes and epithets, he reveals to us his attitude towards the hero.
Readers say that the whole atmosphere of the dungeon made a painful impression on Vasya. He was not so much struck by the very spectacle of the gloomy underground crypt, but by the fact that people live in it, while everything testifies to the impossibility of human stay in the dungeon: the light that barely breaks through, the walls of stone, wide columns, closing up with a vaulted ceiling. But the saddest thing in this picture was Marusya, barely standing out against the background of the gray stone as a strange and small misty speck that seemed about to blur and disappear. All this amazes Vasya, he clearly imagines how cruel, cold stones, closing in strong hugs over the tiny figure of a girl, suck the life out of her. Having witnessed the unbearable living conditions of a poor girl, Vasya finally fully realizes the terrible meaning of Tyburtsy's fatal phrase. But it seems to the boy that it is still possible to fix it, change it for the better, one has only to leave the dungeon: "Let's go ... let's get out of here ... Take her away," he persuades Valek.
Reading is not always entertainment. The book sometimes upsets, makes you think, change your outlook on life. And so the choice fiction plays an important role in the development of a teenager's personality. It is extremely important to instill in the child the ability to sympathize, empathize with others. This extremely important topic was dedicated by Vladimir Korolenko “In Bad Society”. An essay on this story will reveal the true meaning of such words as compassion and mercy.
about the author
Before proceeding to the analysis of the work, it is worth saying a few words about the writer Vladimir Korolenko. He was born in mid-nineteenth century, and since he lost his father quite early, he experienced hardship and hardship firsthand. Difficult childhood formed a special worldview. Korolenko reacted with pain to injustice, which is monstrously abundant in this world. He expressed his experiences in works of art, most of which are dedicated to children. One of them was called by Korolenko "In Bad Society". This work, however, has another name - "Children of the Underground".
Children of the outcasts
This story is dedicated to the restless life of the poor. Social inequality is a problem that was considered by great writers and thinkers. This topic is quite complex and controversial. But innocent children suffer from the inequality that adults have established. So it was, is, and probably will be for many more centuries. Only compassion can mitigate cruelty - a feeling to which Korolenko dedicated "In Bad Society". An essay on this topic should begin with the definition of this important moral category.
What is compassion?
What is the idea of Korolenko's work "In Bad Society"? An essay on the story of the children of the underground can begin with an interpretation of the polysemantic word "compassion". As already mentioned, this topic was considered by the classics of Russian and foreign literature. It is worth remembering the words of the Austrian writer believed that there are two kinds of compassion. One is a sentimental and cowardly feeling. The other is true. The first is nothing else than the desire to protect oneself from the sight of someone else's misfortune. The second encourages action. A person who knows how to truly sympathize is able to do everything in human power, and even beyond them.
The hero of Korolenko's story "In Bad Society", despite his very young age, shows pure selfless feelings. Vasya knows how to truly sympathize. unusually mature and noble deeds commits a boy from Korolenko's sentimental story "In Bad Society".
Composition "Marusya and Sonya - two childhoods"
There are two little characters in the story. They never meet. What do they have in common? Age and absence of mother. Comparison of these two girls is playing important role in a general analysis of this work.
The first is Sonya, Vasya's sister. She lives in a comfortable house, she has a caring nanny and a loving father. The second - Marusya - a girl who lives in a cold, uncomfortable dungeon. She is also not deprived of fatherly love. In addition, she has a brother who is ready to do anything (and more often Valek goes to theft) in order to feed his sister. But the townspeople treat the Marusya family with contempt. It is similar to the life of those who are destined to be outcasts, not only in a decent society, but even among the same beggars as they themselves are. However, this fate bypasses the girl, since she passes away very early.
The fate of Sony is completely different. Her father is a respected man in the city. And therefore, those around Sonya herself are treated with warm sympathy. Through the example of these two images, young readers should comprehend an important moral idea. It lies in the fact that various social prejudices present in any society give rise to cruelty. And it is especially scary when children suffer from it.
About friendship
After reading Korolenko's story "In Bad Society", the composition "My friend Vasya" is a standard creative task. Children write about what they see true friendship, and give as an example good boy Vasya. But in the form of this little hero what is important is not so much his warm feelings for Valk and Marusa, as his desire to help and support representatives of the outcast sections of society. After all, even before meeting the children from the dungeon, the “owner” of the abandoned castle kindly invites Vasya to visit, but he refuses. He is more drawn to those who have been rejected, to those whose existence causes pity and compassion. This, perhaps, is the main idea of Korolenko's story "In Bad Society". An essay about Vasya is very often written by children after reading the work.
Composition about Vasya
But if we are to dedicate a creative task to such a lofty topic as friendship, it is necessary first to state the content of that chapter in which a significant acquaintance is depicted.
Vasya, the son of a city judge, decided one day to take a short excursion together with the neighboring boys. The destination was an abandoned chapel. All other objects in the city have been examined for a long time and more than once. And only she alone remained an unexplored structure. This old gloomy building caused horror even more than curiosity. But what was Vasya's surprise when it turned out that someone lives in this half-destroyed building! The boy was the only one who knew about it. He didn't say anything to his friends.
Valek and Marusya
The children of Tyburtsy, the leader of the lower strata of the urban population, lived in the chapel. Vasya almost immediately became friends with Valk and Marusya. He helped these children, did everything in his power. And most of all, the brother and sister needed the most necessary for human existence - food. Later, Vasya realized that Valek traded in theft, and although this discovery was extremely unpleasant for the judge's son, he tried to treat his new friend's lifestyle with understanding. And only after the boy realized that theft for these people is the only way to survive, he completely realized that he had no right to condemn them. This is how the relations of children from different social worlds are depicted in Korolenko's work "In Bad Society".
Composition "My favorite hero"
One of the most touching and saddest chapters in this story is the one in which we are talking about the last days of Marusya's life. Perhaps the events that preceded the girl's death should be described and analyzed in detail when writing an essay about the character of Korolenko's work - a young hero, but who knows how to sympathize like not every adult.
When the warm days passed, Marusya began to feel worse and worse. And Vasya thought that the only way to save her could be a big bright doll. This expensive toy belonged to Sonya and was a gift from her late mother. Having begged the doll for a while from his sister, Vasya took it to the dying girl. And even when his father found out about the loss, the boy did not reveal the secrets about where his friends live. He was unfairly punished, but he kept his word, once given to Tyburtsiy.
Marusya is dead. Tyburtsy appeared at the judge's house, returned the doll and told about Vasya's kindness and mercy. For many years the judge was ashamed in front of his son for the cold attitude that he showed towards him. The father also felt guilty that Vasya did not meet understanding and love in home, among close relatives, but found them in the shelter of strangers and distant people from the "bad society".
An essay based on the work “In Bad Society” by V. G. Korolenko “Why do Marusya and Sonya have two different childhoods?”
In a small place called Knyazhye-Veno lived two little girls. One was called Sonya, and she was the daughter of a city judge. Marusya (the second girl) lived with beggars. They belonged to different social strata and therefore their life was very different. These girls simply could not have the same childhood.
Four-year-old Sonya lived in love and contentment in a large house with a garden. She grew up cheerful healthy child, was ruddy, round, mobile, always smartly dressed. Her father loved her very much and spoiled her. She had many beautiful dresses, braids, different toys. She was served by an old nanny and a maid. Six-year-old Vasya loved to play with his little sister, he liked her sonorous cheerful laugh.
Little Marusya lived with beggars in an old dungeon. Her life was very hard. She didn't have anything that Sonya owned. Cold and hunger, the absence of elementary conditions, that was the life of this poor, unfortunate girl. From constant malnutrition, she looked exhausted. Thin, pale, she could hardly walk, and her voice was like a barely audible thin bell. The girl could not play outdoor games - she simply did not have enough strength for this. Ten-year-old brother Valek pitied and loved her and helped her as much as he could.
On the example of these two girls, the writer V. Korolenko showed two worlds of childhood: safe and secure, in which the daughter of the city judge Sonya lives, and full of hardships, the bleak world of little Marusya. The gray stone of the dungeons literally sucked the life out of the unfortunate little Marusya. She constantly coughed and weakened literally every day. The girl lived very little (a little more than three years) and it so happened that the greatest joy in her life was a beautiful doll presented by Sonya's brother.
Marusya and Sonya were about the same age, about 4 years old, and they both had already lost their mother. This is where their similarities end.
Sonya was the daughter of a rich judge, she had everything: good food, her own room, beautiful toys, nannies. She did not need anything, her childhood, with the exception of the death of her mother, was cloudless.
Marusya, unlike her, was in constant need - she did not have her own home, she was often hungry, she did not have real toys, etc.
One day their fates intertwined. Marusya, from constant malnutrition and deprivation, began to wither and die. When she had already become completely ill and those around her realized that she would die soon, the boy Vasya, Sonya's brother, decided to make Marusya a pleasant surprise. He turned to Sonya with a request to give him his favorite, most beautiful doll for a while. Sonya at first did not want to part with her, but the story about the dying girl Marusya had an effect on her and she agreed.
The doll made an indelible impression on Marusya. For the first time in recent days, she got out of bed, began to lead the doll by the handle, talk to her and even laugh. Thus, Sonya's doll brightened up the last days of the poor girl Marusya.
She died soon after, but long years Sonya and her brother Vasya went to the grave and looked after her, remembering Marusya and her hard, short life.