Extracurricular reading lesson on literature based on stories by V. P

"Last bow"

Decency, reverent attitude towards bread, neat

Towards money - all this, with tangible poverty and modesty, combined with hard work, helps the family survive even in the most difficult moments.

With love V.P. In the story, Astafiev paints pictures of children's pranks and amusements, simple home conversations, everyday worries (among which the lion's share of time and effort is devoted to garden work, as well as simple peasant food). Even the first new pants become a great joy for a boy, since they are constantly altering them from old ones.

In the figurative structure of the story, the image of the hero’s grandmother is central. She is a respected person in the village. Her large, veiny working hands once again emphasize the heroine’s hard work. “In any matter, it’s not the word, but the hands that are the head of everything. There is no need to spare your hands. Hands, they bite and pretend to everything,” says the grandmother. The most ordinary tasks (cleaning the hut, cabbage pie) performed by grandmother give so much warmth and care to the people around them that they are perceived as a holiday. In difficult years, an old sewing machine helps the family survive and have a piece of bread, with which the grandmother manages to sheathe half the village.

The most heartfelt and poetic fragments of the story are dedicated to Russian nature. The author notices the finest details of the landscape: scraped off tree roots along which the plow tried to pass, flowers and berries, describes the picture of the confluence of two rivers (Manna and Yenisei), freeze-up on the Yenisei. The majestic Yenisei is one of the central images of the story. The whole life of people passes on its shore. Both the panorama of this majestic river and the taste of its icy water are imprinted in the memory of every village resident from childhood and for life. It was in this very Yenisei that the main character’s mother once drowned. And many years later, on the pages of his autobiographical story, the writer courageously told the world about the last tragic minutes of her life.

V.P. Astafiev emphasizes the breadth of his native expanses. The writer often uses images in landscape sketches sounding world(the rustle of shavings, the rumble of carts, the clatter of hooves, the song of a shepherd's pipe), conveys characteristic smells (of forest, grass, rancid grain). Every now and then the element of lyricism intrudes into the unhurried narrative: “And fog spread across the meadow, and the grass was wet from it, the flowers of night blindness drooped down, the daisies wrinkled the white eyelashes on the yellow pupils.”

These landscape sketches contain such poetic finds that can serve as a basis for calling individual fragments of the story prose poems. These are personifications (“The mists were quietly dying over the river”), metaphors (“In the dewy grass the red lights of strawberries lit up from the sun”), similes (“We pierced the fog that had settled in the gulch with our heads and, floating upward, wandered along it, as if on a soft, pliable water, slowly and silently").

In selfless admiration of beauty native nature The hero of the work sees, first of all, moral support.

V.P. Astafiev emphasizes how deeply pagan and Christian traditions are rooted in the life of the ordinary Russian person. When the hero falls ill with malaria, his grandmother treats him with all available means: herbs, aspen spells, and prayers.

Through the boy's childhood memories, a difficult era emerges when schools had no desks, textbooks, or notebooks. Only one primer and one red pencil for the entire first grade. And in such difficult conditions the teacher manages to conduct lessons.

Like every country writer, V.P. Astafiev does not ignore the theme of confrontation between city and countryside. It is especially intensified in years of famine. The city was hospitable as long as it consumed agricultural products. And empty-handed, he greeted the men reluctantly. With pain V.P. Astafiev writes about how men and women with knapsacks carried things and gold to Torgsin. Gradually, the boy’s grandmother donated knitted festive tablecloths there, and clothes kept for the hour of death, and on the darkest day, the earrings of the boy’s deceased mother (the last memorable item).

V.P. Astafiev creates colorful images of rural residents in the story: Vasya the Pole, who plays the violin in the evenings, the folk craftsman Kesha, who makes sleighs and clamps, and others. It is in the village, where a person’s entire life passes in front of his fellow villagers, that every unsightly act, every wrong step is visible.

V.P. Astafiev emphasizes and glorifies the humane principle in man. For example, in the chapter “Geese in the Ice Hole,” the writer talks about how the guys, risking their lives, save the remaining geese in the ice hole during the freeze-up on the Yenisei. For the boys, this is not just another desperate childish prank, but a small feat, a test of humanity. And although further fate The geese still turned out sadly (some were poisoned by dogs, others were eaten by fellow villagers in times of famine), but the guys still passed the test of courage and a caring heart with honor.

By picking berries, children learn patience and accuracy. “My grandmother said: the main thing in berries is to close the bottom of the vessel,” notes V.P. Astafiev. In simple life with its simple joys (fishing, bast shoes, ordinary village food from the native garden, walks in the forest) V.P. Astafiev sees the happiest and most organic ideal of human existence on earth.

V.P. Astafiev argues that a person should not feel like an orphan in his homeland. He also teaches us to be philosophical about the change of generations on earth. However, the writer emphasizes that people need to carefully communicate with each other, because each person is unique and unrepeatable. The work “The Last Bow” thus carries a life-affirming pathos. One of the key scenes of the story is the scene in which the boy Vitya plants a larch tree with his grandmother. The hero thinks that the tree will soon grow, will be big and beautiful and will bring a lot of joy to the birds, the sun, people, and the river.

"Last bow"

Decency, reverent attitude towards bread, neat

Towards money - all this, with tangible poverty and modesty, combined with hard work, helps the family survive even in the most difficult moments.

With love V.P. In the story, Astafiev paints pictures of children's pranks and amusements, simple home conversations, everyday worries (among which the lion's share of time and effort is devoted to garden work, as well as simple peasant food). Even the first new pants become a great joy for a boy, since they are constantly altering them from old ones.

In the figurative structure of the story, the image of the hero’s grandmother is central. She is a respected person in the village. Her large, veiny working hands once again emphasize the heroine’s hard work. “In any matter, it’s not the word, but the hands that are the head of everything. There is no need to spare your hands. Hands, they bite and pretend to everything,” says the grandmother. The most ordinary tasks (cleaning the hut, cabbage pie) performed by grandmother give so much warmth and care to the people around them that they are perceived as a holiday. In difficult years, an old sewing machine helps the family survive and have a piece of bread, with which the grandmother manages to sheathe half the village.

The most heartfelt and poetic fragments of the story are dedicated to Russian nature. The author notices the finest details of the landscape: scraped off tree roots along which the plow tried to pass, flowers and berries, describes the picture of the confluence of two rivers (Manna and Yenisei), freeze-up on the Yenisei. The majestic Yenisei is one of the central images of the story. The whole life of people passes on its shore. Both the panorama of this majestic river and the taste of its icy water are imprinted in the memory of every village resident from childhood and for life. It was in this very Yenisei that the main character’s mother once drowned. And many years later, on the pages of his autobiographical story, the writer courageously told the world about the last tragic minutes of her life.

V.P. Astafiev emphasizes the breadth of his native expanses. The writer often uses images of the sounding world in landscape sketches (the rustle of shavings, the rumble of carts, the clatter of hooves, the song of a shepherd's pipe), and conveys characteristic smells (of forest, grass, rancid grain). Every now and then the element of lyricism intrudes into the unhurried narrative: “And fog spread across the meadow, and the grass was wet from it, the flowers of night blindness drooped down, the daisies wrinkled the white eyelashes on the yellow pupils.”

These landscape sketches contain such poetic finds that can serve as a basis for calling individual fragments of the story prose poems. These are personifications (“The mists were quietly dying over the river”), metaphors (“In the dewy grass the red lights of strawberries lit up from the sun”), similes (“We pierced the fog that had settled in the gulch with our heads and, floating upward, wandered along it, as if on a soft, pliable water, slowly and silently").

In selfless admiration of the beauties of his native nature, the hero of the work sees, first of all, moral support.

V.P. Astafiev emphasizes how deeply pagan and Christian traditions are rooted in the life of the ordinary Russian person. When the hero falls ill with malaria, his grandmother treats him with all available means: herbs, aspen spells, and prayers.

Through the boy's childhood memories, a difficult era emerges when schools had no desks, textbooks, or notebooks. Only one primer and one red pencil for the entire first grade. And in such difficult conditions the teacher manages to conduct lessons.

Like every country writer, V.P. Astafiev does not ignore the theme of confrontation between city and countryside. It is especially intensified in years of famine. The city was hospitable as long as it consumed agricultural products. And empty-handed, he greeted the men reluctantly. With pain V.P. Astafiev writes about how men and women with knapsacks carried things and gold to Torgsin. Gradually, the boy’s grandmother donated knitted festive tablecloths there, and clothes kept for the hour of death, and on the darkest day, the earrings of the boy’s deceased mother (the last memorable item).

V.P. Astafiev creates colorful images of rural residents in the story: Vasya the Pole, who plays the violin in the evenings, the folk craftsman Kesha, who makes sleighs and clamps, and others. It is in the village, where a person’s entire life passes in front of his fellow villagers, that every unsightly act, every wrong step is visible.

V.P. Astafiev emphasizes and glorifies the humane principle in man. For example, in the chapter “Geese in the Ice Hole,” the writer talks about how the guys, risking their lives, save the remaining geese in the ice hole during the freeze-up on the Yenisei. For the boys, this is not just another desperate childish prank, but a small feat, a test of humanity. And although the further fate of the geese was still sad (some were poisoned by dogs, others were eaten by fellow villagers in times of famine), the guys still passed the test of courage and a caring heart with honor.

By picking berries, children learn patience and accuracy. “My grandmother said: the main thing in berries is to close the bottom of the vessel,” notes V.P. Astafiev. In simple life with its simple joys (fishing, bast shoes, ordinary village food from the native garden, walks in the forest) V.P. Astafiev sees the happiest and most organic ideal of human existence on earth.

V.P. Astafiev argues that a person should not feel like an orphan in his homeland. He also teaches us to be philosophical about the change of generations on earth. However, the writer emphasizes that people need to carefully communicate with each other, because each person is unique and unrepeatable. The work “The Last Bow” thus carries a life-affirming pathos. One of the key scenes of the story is the scene in which the boy Vitya plants a larch tree with his grandmother. The hero thinks that the tree will soon grow, will be big and beautiful and will bring a lot of joy to the birds, the sun, people, and the river.

Creativity of V.P. Astafiev’s work has been predominantly studied in ideological and thematic terms: the theme of war, the theme of childhood and the theme of nature.

“The Last Bow” contains two main themes for the writer: rural and military. At the center of the autobiographical story is the fate of a boy left without a mother at an early age and raised by his grandmother. Decency, a reverent attitude towards bread, a careful attitude towards money - all this, with tangible poverty and modesty, combined with hard work, helps the family survive even in the most difficult moments.

With love V.P. In the story, Astafiev paints pictures of children's pranks and amusements, simple home conversations, everyday worries (among which the lion's share of time and effort is devoted to garden work, as well as simple peasant food). Even the first new pants become a great joy for a boy, since they are constantly altering them from old ones.

In the figurative structure of the story, the image of the hero’s grandmother is central. She is a respected person in the village. Her large, veiny working hands once again emphasize the heroine’s hard work. “In any matter, it’s not the word, but the hands that are the head of everything. There is no need to spare your hands. Hands, they give taste and appearance to everything,” says the grandmother. The most ordinary tasks (cleaning the hut, cabbage pie) performed by grandmother give so much warmth and care to the people around them that they are perceived as a holiday. In difficult years, an old sewing machine helps the family survive and have a piece of bread, with which the grandmother manages to sheathe half the village. The most heartfelt and poetic fragments of the story are dedicated to Russian nature.

The author notices the finest details of the landscape: scraped off tree roots along which the plow tried to pass, flowers and berries, describes the picture of the confluence of two rivers (Manna and Yenisei), freeze-up on the Yenisei. The majestic Yenisei is one of the central images of the story. The whole life of people passes on its shore. Both the panorama of this majestic river and the taste of its icy water are imprinted in the memory of every village resident from childhood and for life. It was in this very Yenisei that the main character’s mother once drowned. And many years later, on the pages of his autobiographical story, the writer courageously told the world about the last tragic minutes of her life.

V.P. Astafiev emphasizes the breadth of his native expanses. The writer often uses images of the sounding world in landscape sketches (the rustle of shavings, the rumble of carts, the clatter of hooves, the song of a shepherd's pipe), and conveys characteristic smells (of forest, grass, rancid grain). Every now and then the element of lyricism intrudes into the unhurried narrative: “And fog spread across the meadow, and the grass was wet from it, the flowers of night blindness drooped down, the daisies wrinkled the white eyelashes on the yellow pupils.”

These landscape sketches contain such poetic finds that can serve as a basis for calling individual fragments of the story prose poems. These are personifications (“The mists were quietly dying over the river”), metaphors (“In the dewy grass the red lights of strawberries lit up from the sun”), similes (“We pierced the fog that had settled in the gulch with our heads and, floating upward, wandered along it, as if on a soft, pliable water, slowly and silently"), In selfless admiration of the beauties of his native nature, the hero of the work sees, first of all, moral support.

V.P. Astafiev emphasizes how deeply pagan and Christian traditions are rooted in the life of the ordinary Russian person. When the hero falls ill with malaria, his grandmother treats him with all available means: herbs, aspen spells, and prayers. Through the boy's childhood memories, a difficult era emerges when schools had no desks, textbooks, or notebooks. Only one primer and one red pencil for the entire first grade. And in such difficult conditions the teacher manages to conduct lessons. Like every country writer, V.P. Astafiev does not ignore the theme of confrontation between city and countryside. It is especially intensified in years of famine. The city was hospitable as long as it consumed agricultural products. And empty-handed, he greeted the men reluctantly.

With pain V.P. Astafiev writes about how men and women with knapsacks carried things and gold to Torgsin. Gradually, the boy’s grandmother donated knitted festive tablecloths there, and clothes kept for the hour of death, and on the darkest day, the earrings of the boy’s deceased mother (the last memorable item).

It is important for us that V.P. Astafiev creates colorful images of rural residents in the story: Vasya the Pole, who plays the violin in the evenings, the folk craftsman Kesha, who makes sleighs and clamps, and others. It is in the village, where a person’s entire life passes in front of his fellow villagers, that every unsightly act, every wrong step is visible.

Note that V.P. Astafiev emphasizes and glorifies the humane principle in man. For example, in the chapter “Geese in the Ice Hole,” the writer talks about how the guys, risking their lives, save the remaining geese in the ice hole during the freeze-up on the Yenisei. For the boys, this is not just another desperate childish prank, but a small feat, a test of humanity. And although the further fate of the geese was still sad (some were poisoned by dogs, others were eaten by fellow villagers in times of famine), the guys still passed the test of courage and a caring heart with honor. By picking berries, children learn patience and accuracy. “My grandmother said: the main thing in berries is to close the bottom of the vessel,” notes V.P. Astafiev.

In simple life with its simple joys (fishing, bast shoes, ordinary village food from the native garden, walks in the forest) V.P. Astafiev sees the happiest and most organic ideal of human existence on earth. V.P. Astafiev argues that a person should not feel like an orphan in his homeland. He also teaches us to be philosophical about the change of generations on earth. However, the writer emphasizes that people need to carefully communicate with each other, because each person is unique and unrepeatable. The work “The Last Bow” thus carries a life-affirming pathos. One of the key scenes of the story is the scene in which the boy Vitya plants a larch tree with his grandmother. The hero thinks that the tree will soon grow, will be big and beautiful and will bring a lot of joy to the birds, the sun, people, and the river.

Let's turn to the works of researchers. A.N. Makarov, in his book “In the Depths of Russia,” was one of the first to say that “Astafiev is writing the history of his contemporary,” indicating a certain connection between all his works, and described the nature of his talent as lyrical-epic.

A. Lanshchikov focused his main attention on the autobiography that permeates the writer’s works. I. Dedkov calls the main subject of V. Astafiev’s prose people’s life. B. Kurbatov touches on issues of plot structure in the works of V.P. Astafiev, thus outlining his creative evolution, changes in genre thinking and poetics.

Literary works have raised the question of the connection between the works of V.P. Astafiev with the classical tradition of Russian literature:

• - Tolstoy tradition (R.Yu. Satymova, A.I. Smirnova);
• - Turgenev tradition (N.A. Molchanova).

The work is written in the form of a story within stories. Note that the form emphasizes the biographical nature of the narrative: the memories of an adult about his childhood. Memories, as a rule, are vivid, but do not line up in a single line, but describe individual incidents from life.

Note that the work is about the Motherland, in the sense that Viktor Astafiev understands it. Homeland for him:

• - this is a Russian village, hardworking, not spoiled by wealth;
• - this is nature, harsh, incredibly beautiful - the powerful Yenisei, taiga, mountains.

Each individual story of "Bow" reveals a separate feature of this general theme, be it a description of nature in the chapter "Zorka's Song" or children's games in the chapter "Burn, Burn Clear."

The narration is told from the first person - the boy Vitya Potylitsin, an orphan living with his grandmother. Vitya's father is a reveler and a drunkard, he abandoned his family. Vitya's mother died tragically - drowned in the Yenisei. Vitya's life proceeded like that of all other village boys - helping elders with housework, picking berries and mushrooms, fishing and playing. main character“Bow” - Vitka’s grandmother Katerina Petrovna becomes for the reader of Astafiev’s work as if “our common Russian grandmother”, because she collects in herself in a rare, living completeness everything that is still left on native land strong, hereditary, primordially dear, which we recognize to ourselves with some kind of extra-verbal instinct as our own, as if it was shining for all of us and was given in advance and forever from somewhere, given. The writer did not embellish anything in her, leaving behind her stormy character, her grumpiness, and the indispensable desire to find out everything first and to dispose of everything - everyone in the village (one word - “general”). And she fights and suffers for her children and grandchildren, and breaks down into anger and tears, and begins to talk about life, and now, it turns out, there are no hardships for the grandmother: “Children were born - joy. Children were sick, she saved them with herbs and roots, and not a single one died - that’s also joy... Once she put her hand out in the arable land, and straightened it herself, there was just suffering, they were harvesting bread, one hand stung and did not become a crooked hand - is that not joy? This is a common feature of old Russian women, and it is a Christian feature, a feature that, when faith is exhausted, is also inevitably depleted, and a person increasingly reckons with fate, measuring evil and good on the unreliable scales of “public opinion”, counting his own suffering and jealously emphasizing his mercy .

In “The Last Bow,” everything around is still ancient - dear, lullaby, grateful to life, and this is why everything around is life-giving. Life-giving, primordial beginning.

It should be noted that this image of a grandmother is not the only one in Russian literature. For example, it is found in Maxim Gorky's "Childhood". And his Akulina Ivanovna is very, very similar to Viktor Petrovich Astafiev’s grandmother Katerina Petrovna.

But a turning point comes in Vitka’s life. He is sent to his father and stepmother in the city to study at school, since there was no school in the village. Then the grandmother leaves the story, new everyday life begins, everything gets dark, and such a cruel, terrible side of childhood appears that the writer for a long time avoided writing the second part of “Bow,” the menacing turn of his fate, his inevitable “in people.” Not by chance last chapters"Bows" were completed by Astafiev only in 1992.

The second part of “The Last Bow” was sometimes reproached for its cruelty. But it was not the supposedly vengeful note that was truly effective. What kind of vengeance is there? What does it have to do with it? The writer recalls his bitter orphanhood, his exile and homelessness, his general rejection, his uselessness in the world. “When it seemed that sometimes it would be better for everyone if he died,” as he himself wrote as an adult. And this was not said to them in order to now triumph victoriously: what, they took it! - either to evoke a sympathetic sigh, or to once again seal that inhumane time. These would all be tasks too alien to Astafiev’s confessional and loving literary gift. You can probably be reckoned with and take revenge when you realize that you live unbearably because of someone’s obvious fault, you remember this obviousness and look for resistance. But did the small, tenacious hero of “The Last Bow” Vitka Potylitsyn realize something prudently? He just lived as best he could and dodged death, and even in certain moments managed to be happy, not to miss the beauty. If anyone broke down, it was not Vitka Potylitsyn, but Viktor Petrovich Astafiev, who, from the distance of years already lived and from the height of his understanding of life, asked the world with confusion: how could it happen that innocent children were placed in such terrible, inhuman conditions of existence?

He does not feel sorry for himself, but for Vitka, as his child, who now can only be protected by compassion, and only by the desire to share with him the last potato, and the last drop of warmth, and every moment of his bitter loneliness.

If Vitka got out then, then we must thank his grandmother Katerina Petrovna for this, the grandmother who prayed for him, reached with her heart his suffering and thus, from a distant distance, inaudibly for Vitka, but saved him savingly, at least by the fact that she managed to teach forgiveness and patience, and the ability to discern even a small grain of goodness in complete darkness, and to hold on to that very grain, and to give thanks for it.

Astafiev devoted a number of works to the theme of the Russian village, among which I would especially like to mention the stories “The Last Bow” and “Ode to the Russian Vegetable Garden.”

In essence, in “The Last Bow” Astafiev developed a special form of tale - polyphonic in its composition, formed by the interweaving of different voices (Vitka the little, the author-narrator, wise in life, individual hero-storytellers, collective village rumor), and carnivalistic in aesthetic pathos, with an amplitude from uncontrollable laughter to tragic sobs. This narrative form became characteristic feature Astafiev's individual style.

As for the first book of “The Last Bow,” its speech texture amazes with its unimaginable stylistic diversity.

The first book of “The Last Bow,” published in 1968 as a separate edition, evoked a lot of enthusiastic responses. Subsequently, in 1974, Astafiev recalled:

Yang Zheng

China, Nanjing

The image of the main character in the story by V. P. Astafiev “The Last Bow”

In the autobiographical book by V.P. Astafiev “The Last Bow” the narration is told in two planes - the plane of the past (I) and the plane of the present (I2). From I to I2 there is a path spiritual development Main character.

Key words: image of “I”; two time plans; split and unity of personality.

The story within stories “The Last Bow” was created by V. P. Astafiev during almost his entire creative life. The first chapters of the book were first written as independent stories. Note that some of them, being good material for lessons in “natural pedagogy” [Lanshchikov 1992: 6], are currently included in school curriculum- “Horse with pink mane", "Monk in new pants", "Photo in which I am not" and so on. etc. Astafiev’s book is a story about his own childhood, i.e. it can be put on a par with such autobiographical works of Russian classics as “Childhood”, “Adolescence”, “Youth” by L. N. Tolstoy, “Childhood”, “In People”, “My Universities” by M. Gorky. The narration in “The Last Bow” is in the 1st person. However, the role of the narrator in the story is ambiguous. In some cases, he entrusts the story to another person (as a hero-narrator), sometimes he himself acts as a witness and commentator on what is happening (as an author-narrator). Thus, a bifurcation of the subject of speech occurs, and the result is “an objective-subjective image, where objectivity comes from the real-life hero, and subjectivity comes from the author, from the choice and interpretation of the episodes described” [Boyko 1986: 9].

“In the texts of autobiographical works, a time perspective appears, a comparison of two time plans is updated according to the “now - then” principle: I write about myself in the past and present... My thought lives not only in the past (as memory), but also in the present.

Yang Zheng, Ph.D. Sciences, senior lecturer at Nanjing University, China. Email: [email protected]

schem (as awareness of oneself in time). The future may not exist at all, or it may be short-lived, schematic and fragmentary” [Nikolina 2002: 392]. And these two subjects - I: (Vitya Potylitsyn in the past, in childhood) and Yar (the adult author Viktor Astafiev in the present) - represent an indissoluble unity. On the way from I: to Yar, the spiritual evolution of the character takes place; in autobiographical prose about childhood, the hero and the author are fused together.

The image of the adult “I” emerges primarily through numerous author’s digressions (lyrical and journalistic), where the narrator’s attitude to reality is directly and clearly expressed. In this regard, the story “The Monk in New Pants” is of particular interest, where the personal voices of the hero-narrator and the author-narrator are intertwined. The narrative begins in the present tense and is narrated by the boy Vitya as actor. He is entrusted with a certain job, for which he can “receive” money:

I was ordered to sort through the potatoes... The larger potatoes are selected for sale in the city. My grandmother promised to use the proceeds to buy textiles and sew me new pants with a pocket1.

Matter, or manufactory, is the name of sewing goods<...>grandma bought it.<.. .>No matter how long I lived in the world, no matter how many pants I wore, I never came across any material with that name.<...>There were a lot of things that happened in childhood that never happened again and didn’t happen again, unfortunately.

L1 and L2 are clearly distinguished when the author-narrator evaluates and comprehends the behavior, experiences and thoughts of his past self from other “points of view.” Thus, in the first story, “A Far and Near Fairy Tale,” the narrator describes the experiences of the main character, who heard the violin for the first time in his life:

I’m alone, alone, there’s such horror all around, and there’s also music - a violin. A very, very lonely violin. And she doesn’t threaten at all. Complains<.. .>The music flows quieter, more transparent, I hear, and my heart lets go<.. .>What was this music telling me? About the convoy? About a dead mom? About a girl whose hand is drying up? What was she complaining about? Who were you angry with? Why am I so anxious and bitter? Why do you feel sorry for yourself? And I feel sorry for those who sleep soundly in the cemetery.

The given passage of text formally belongs to the author-narrator, but in fact it shows the inner world of a little boy at the moment of music playing, the narrative is filled with a clearly childish worldview, therefore the subject of speech in this passage is Yag. At the end of this story, the adult narrator (Y2) many years later conveys his first childhood impressions of the music he heard and reinterprets them:

Once upon a time, after I listened to the violin, I wanted to die from incomprehensible sadness and delight. He was stupid. He was small (hereinafter italics are mine. - Ya.Ch.). I later saw so many deaths that there was no more hateful, damned word for me than “death.”

Here L1 has become the object of thinking for L2, who evaluates his past “I” from a different temporal (already during the war) and spatial (already in some Polish city) distance. Thus, the change of subjects of speech is expressed author's position in relation to the role of music in human life, and in general to the role of art in general.

As he grows older main character, the clear distinction between I: and I2 is gradually erased, and their voices come closer together. In other cases they may

be so fused that it is impossible to separate them. For example, in the story “Without Shelter,” the growing hero Vitya sometimes takes on the subjective, evaluative functions of the author-narrator:

Tishka taught me to smoke bulls picked up on the street. “I can already drink wine, disfigure people, steal. All that’s left is to learn to smoke and that’s it!”

This kind of self-esteem, permeated with bitterness and pain, is one of the favorite techniques used by Astafiev in “The Last Bow” to express the attitude of Y2 to YA. Often an adult author looks at his “Alter ego” (another “I”) with sympathy, love and even with slight irony. For example, in the same story: after the departure of Ndybakan, his comrade in trouble, Vitya was again left alone and, as if in despair, calls his friend:

Ndybakan, Ndybakan! Where are you? In

days of doubt, in days of painful thoughts, you alone were my support and support!

Here, behind the light irony expressed in quoting Turgenev’s famous lines, lies the author’s sympathy for his hero, not so much for himself, but for all the innocent children who early fell into the “crucible” of life. At one time, following Heine’s thought, Astafiev wrote that “if the world splits, the crack will first of all pass through the destinies of children” [Astafiev 1998: 613].

As a result of the split between I: and I2, a specific image of “I” is created in an autobiographical story. Unlike the hero-narrator (Vitya Potylitsyn), who is depicted in “deeds”, actions, in communication with others, his double Viktor Astafiev, a thinking, feeling person, is focused largely on understanding life in general and the life of the village of Ovsyanka in particular; he is facing his inner world, their experiences and reflections, which is a kind of awareness of oneself in time.

Depicting reality in different time and spatial coordinates, the author shows the changes in the Peasant Universe in its past and present.

finally, depicts the process of the death of “Peasant Atlantis”. “Premonition, the breath of death” is conveyed precisely through “elegiac intonation, through the attribution of the brightest episodes to the past” [Goncharov 2003: 101-102]. At the same time, the author gives a clear preference to the past, speaks with emotional pain about tragic fate native village. Thus, at the endings of some stories, the author’s narration deliberately moves to the present. For example, the story “The Legend of the Glass Jar” ends with the following words:

And I, an abnormal person, grieve all about some poor wounded capercaillie, about past times, about krinka, about berries, about the Yenisei, about Siberia - why and who needs this?

However, the image of the adult author-narrator (L2) in the story is not static; his feelings and thoughts undergo serious changes. The chapter “The Feast After the Victory,” to some extent final, summing up everything that was connected with the hero’s childhood, adolescence and youth, with the war, ends optimistically:

And in my heart, and just mine, I thought at that moment, faith will be deeply etched: beyond the victorious spring, all evil remains, and we will meet only good people, with only glorious deeds. May this holy naivety be forgiven to me and all my brothers-in-arms - we have destroyed so much evil that we had the right to believe that there is no more of it left on earth.

But this is only an intermediate stage in the development of the adult self, which becomes different in the final chapters of the story, written in the early 1990s. In the comments to “The Last Bow” Astafiev wrote:

Not suddenly, not right away, but I realized that I hadn’t said something in “Bow,” I “skewed” the book towards complacency, and it turned out to be somewhat touching, although I didn’t consciously strive for this, but still I’ve trimmed life, I sawed off the sharp corners so that dear readers, Soviet first of all, they didn’t get caught in their pants and didn’t hurt their knees. But life in the thirties did not consist of only funny children's toys and intricate games, including mine

life and the lives of people close to me. The thoughts and memories continued, the book continued inside me.<.. .>The book moved from childhood further into life, and moved with it, with life.

Realizing this, Astafiev begins to “tighten” what he had previously written; in particular, “The Shepherd and the Shepherdess” the author rewrote several times, thickening the colors. The same thing happens with individual chapters of “The Last Bow”. For example, in the story “The Photograph in which I am not”, he added 5 pages about collectivization, dispossession, and at the same time repeated much of what was written clearly and definitely back in the 1970s. in the story “Chipmunk on the Cross”, where, it would seem, the conclusion was already summed up:

SHUMKINA E.N. - 2010

Target:

• introduce students to the biography and work of V.P. Astafieva; show what connection the writer’s autobiography has with his story “The Last Bow”; briefly analyze the main chapters of the story; show students how the formation of the personality of the main character of the story took place, prepare students for a detailed analysis of the chapter of the story “The Photograph in which I am not”;
• development of students’ speech, ability to reason, to defend their own opinion; development of artistic text analysis skills;
• cultivate feelings of compassion, empathy, pity and love for people.

Equipment: books by V.P. Astafieva recent years, photographs, newspaper articles, computer, projector.

Epigraph on the board:

The world of childhood, parting with it forever,
There are no paths back, no trace,
That world is far away, and only memories
More and more often they return us there.
K. Kuliev

During the classes

1. Message of the topic of the lesson

Teacher: Today we have an unusual lesson, a travel lesson based on the story by V.P. Astafiev “Last bow”. During this journey, try to understand what the main character of the work felt and how his personality developed. I would like this lesson to be a lesson - a discovery, so that none of you leaves with an empty heart.

We begin our acquaintance with the work of the wonderful Russian writer V.P. Astafieva. IN modern literature V.P. Astafiev is one of the consistent supporters of reflecting the truth of life in his works, conflicts, heroes and antipodes.

Today in class we will talk about the feelings that the writer embodied in his autobiographical story “The Last Bow” in order to be ready to analyze one of the chapters of the story “The Photograph in which I am not.”

Teacher: Two students will introduce us to the most striking episodes of the writer’s life and work. (One of them sets out the facts of the biography, the other is the author’s voice in time.)

(Students are introduced to the biography and personal life impressions of the writer. At the same time, a presentation is shown about the life path of V.P. Astafiev.)

Teacher: Creativity of V.P. Astafiev developed further in two directions:

• First- poetry of childhood, which resulted in the autobiographical cycle “Last Bow”.
• Second- poetry of nature, this is the cycle of works “Zatesi”, the novel “Tsar Fish”, etc.

We will take a closer look at the story “The Last Bow,” created in 1968. This story is a kind of chronicle folk life, starting from the late 20s of the twentieth century until the end of the Patriotic War.

The story was not created as a whole; it was preceded by independent stories about childhood. The story took shape when its penultimate chapter, “War is thundering somewhere,” was created. That is, the story appeared as if by itself, this left its mark on the peculiarity of the genre - the story in short stories.

And stories about childhood and youth are a long-standing and now traditional theme in Russian literature. L. Tolstoy, I. Bunin, and M. Gorky turned to her. But unlike other autobiographical stories, in each story-chapter by Astafiev feelings are in full swing - delight and indignation, happiness and grief, joy and sadness, above all feelings.

Question to the class: Remember how in literature they call works that are imbued with the feelings and experiences of the author? (Lyrical.)

Teacher: Therefore, we can talk about the advantage of the lyrical beginning in the story. In each chapter, the author expresses what he feels strongly and sincerely at the moment, and therefore each episode turns into something containing an idea about the time in which the main character lived, and about the events that he experienced, and about the people with whom fate brought him together.

The teacher reads out the words of V. Astafiev: “So I began, little by little, to write stories about my childhood, about my native village, about its inhabitants, about my grandparents, who were in no way fit to be literary heroes of that time.”

Teacher: Initially, the cycle of stories was called “Pages of Childhood” and K. Kuliev’s wonderful epigraph preceded it.

(The teacher draws the students’ attention to the epigraph and reads it.)

Teacher: The first chapter of the story is called “A Far and Near Fairy Tale.” Tanya Sh will tell us about the events described in this chapter.

(Retelling and analysis of the chapter by a student. During the story, Oginski’s “Polonaise” is heard quietly. (a computer is used))

Question to the class:

– What feelings did the melody played by Vasya the Pole evoke in Vitya? What feelings did the writer fill this story with? With what means of expression does the author manage to convey all the feelings of the hero?

The teacher reads a quote from the story:“At those moments there was no evil around. The world was kind and lonely, nothing, nothing bad could fit in it... My heart was pinched by pity for myself, for people, for the whole world, fraught with suffering and fear.”

Question to the class: How did you understand what this chapter story was about? (About the art of being humane.)

Teacher: Both the melody and the feelings allowed the artist to turn this story into an introduction to a vast and diverse narrative about Russia.

The next chapter we will focus on is “Dark, Dark Night.” Andrey K. will tell you about the events of this chapter.

(Retelling and analysis of the chapter by the student.)

Question to the class:– What events caused difficult experiences? lyrical hero stories? What did these events teach him?

Teacher: But the most charming, most significant, captivating image that runs through the entire story is the image of grandmother Katerina Petrovna. She is a very respected person in the village, a “general”, she took care of everyone and was ready to help everyone.

The chapter “Grandma’s Holiday” is imbued with the author’s special feeling. Marina N. will introduce us to its contents.

(Retelling and analysis of the chapter “Grandma’s Holiday.”)

Question to the class: What heroine of the work does Katerina Petrovna remind you of with her character and life views? (Alyosha Peshkov’s grandmother from M. Gorky’s story “Childhood.”)

Teacher: The final chapters of the story tell about the hero’s visit to his 86-year-old grandmother and her death.

The teacher reads the words of the writer:

“The grandmother died, and the grandson could not go to bury her, as he promised, because he had not yet realized the enormity of the loss. Then I realized, but it was too late and irreparable. And lives in the heart of wine. Oppressive, quiet, eternal. I know grandma would forgive me. She always forgave me everything. But she's not there. And it never will be... And there is no one to forgive..."

Teacher: If the entire story “The Last Bow” was called “farewell to childhood,” then the chapter “Love Potion” is the culmination of this work. Anya N. will introduce us to the contents of this chapter.

(Retelling and analysis of the chapter “Love Potion”.)

Teacher: Astafiev said: “I am writing about the village, about my small homeland, and they - big and small - are inseparable, they are in each other. My heart is forever where I began to breathe, see, remember and work.”

And the chapter “The Feast After the Victory” ends the story. Dima K. will introduce us to the events described in this chapter.

(Retelling and analysis of the chapter “Feast after the victory.”)

Teacher: The most important thing in this chapter is that it raises the question of the hero’s moral awareness of his high purpose in life, in history, and his intransigence towards shortcomings.

Question to the class: What feelings in this chapter torment the soul of Vitya Potylitsyn? (Indecisiveness, doubts, new knowledge of the world, sincerity, humanity)

Teacher: Vitya Potylitsyn expresses his “concept of personality” in this chapter: “I wish peace and joy not only for myself, but for all people.”

He feels responsible for all the evil that is happening in the world, and cannot come to terms with any humiliation of a person.

Vitya Potylitsyn has come a long way - from early childhood to the significant feast after the victory, and this path is part of people’s life, this is the story of the spiritual formation of the main character, like Alyosha Peshkov from M. Gorky’s story “Childhood”.

“The Last Bow” is the most “cherished” book in creative biography V. Astafieva.

Teacher: We have completed a short journey through the story “The Last Bow”. How did you understand what this story was about? (About the realization by the main character in the process of his formation of the triumph of kindness and humanity over the dark forces of evil)

6. Conclusion

Teacher: V. Astafiev creates works that are imbued with a sense of human responsibility for everything that exists on earth, the need to combat the destruction of life.

This is his novel too.” Sad detective” (1986), story “Lyudochka” (1989). In them the author analyzes many troubles modern world. In the novel of the last years of his life, “Cursed and Killed,” he again turned to the military theme; his story “Obertone,” written in 1996, is also devoted to the same topic.

What is new in these works is the author’s desire to tell the truth about these tragic years, the depiction of the events of the war from the position of Christian morality.