The genre of autobiographical story about childhood in Russian literature of the 19th – 20th centuries (S.T. Aksakov, L.N. Tolstoy, M. Gorky, I. Shmelev, B. Pasternak, V. Astafiev). “Childhood” by Maxim Gorky as an autobiographical story What genre is the work childhood maxi

The plot of M. Gorky’s story “Childhood” is based on facts from the writer’s real biography. This determined the features of the genre of Gorky’s work - an autobiographical story. In 1913, M. Gorky wrote the first part of his autobiographical trilogy “Childhood,” where he described the events associated with the growing up of a little man. In 1916, the second part of the trilogy “In People” was written, it reveals the hard work life, and a few years later in 1922, M. Gorky, finishing the story about the development of man, published the third part of the trilogy - “My Universities”.

The story “Childhood” is autobiographical, but it is impossible to equate the plot of a work of art with the life of the writer. Years later, M. Gorky recalls his childhood, his first experiences of growing up, the death of his father, moving to his grandfather; rethinks a lot of things in a new way and, based on what he has experienced, creates a picture of the life of the little boy Alyosha in the Kashirin family. The story is narrated in the first person, on behalf of the little hero of the events. This fact makes the events described more reliable, and also helps (which is important for the writer) to convey the psychology and inner experiences of the hero. Either Alyosha speaks of her grandmother as “the closest to my heart, the most understandable and dear person - it was her selfless love for the world that enriched me, filling me with strong strength for a difficult life,” then she admits her dislike for her grandfather. The writer’s task is not just to convey the events in which the little hero became a participant, but also to evaluate them from the position of an adult who has learned a lot in life. It is this feature that is characteristic of the autobiographical story genre. M. Gorky’s goal is not to revive the past, but to tell “about that close, stuffy circle of terrible impressions in which a simple Russian person lived – and still lives to this day.”

The events of childhood do not flash like a kaleidoscope in the narrator’s perception. On the contrary, every moment of life, every action the hero tries to comprehend, to get to the essence. The same episode is perceived differently by the hero. The boy endures the trials he endures: for example, after his grandfather beat Alyosha for ruining the tablecloth, the “days of ill health” became “great days of life” for the boy. It was then that the hero began to understand people better, and his heart “became unbearably sensitive to any insult and pain, his own and that of others.”

Gorky’s work “Childhood” has the boundaries of the traditional genre of the story: one leading storyline associated with an autobiographical hero, and all the minor characters and episodes also help to reveal Alyosha’s character and express the author’s attitude to what is happening.

The writer simultaneously gives the main character his thoughts and feelings, and at the same time contemplates the events described as if from the outside, giving them an assessment: “... is it worth talking about this? This is the truth that needs to be known to the roots, in order to root it out of memory, from a person’s soul, from our entire life, difficult and shameful.”

Plan
Introduction
The story “Childhood” tells about the formation of the personality of a little person.
Main part
The story is told in the first person, which makes it possible to show events more reliably:
- relationship between grandmother and grandson;
- the attitude of the grandfather to the grandson;
- the author evaluates the events;
- the writer’s goal is “a story about a stuffy circle of terrible impressions”;
- the events of childhood are conveyed by the writer in great detail.
Minor characters and episodes help reveal Alyosha’s character.
Conclusion
Describing his childhood, Gorky created a work that was unique in its genre - an autobiographical story.
In 1913, Maxim Gorky wrote the first part of his “Childhood” trilogy, in which he depicted a milestone in the development of a little person’s personality, based on his own real biographical facts. This determined the originality of the genre of Gorky’s work - an autobiographical story. Three years later, the author wrote the second part of the trilogy “In People”, which describes the hard working life of the working class, and a few years later in 1922
M. Gorky published the third part of the trilogy - “My Universities”.
The story “Childhood” is autobiographical. Remembering his childhood, the first years of growing up, the death of his father, moving to the Kashirins’ house, rethinking a lot in a new way, M. Gorky creates the story “Childhood,” a story about the life of a little boy Alyosha. The story is told in the first person, on behalf of the main participant in the events. This allows the writer to show the events depicted more reliably, to convey the thoughts, feelings, and attitude to the character’s life. Alyosha remembers her grandmother as “the closest to my heart, the most understandable and dear person - it was her selfless love for the world that enriched me, filling me with strong strength for a difficult life.” In the text of the story, the hero admits his dislike for his grandfather. The writer’s task is not just to convey the events in which the little hero became a participant, but also to evaluate them from the position of an adult who has learned a lot in life. It is this feature that is characteristic of the autobiographical story genre. M. Gorky’s goal is not to revive the past, but to tell “about that close, stuffy circle of terrible impressions in which a simple Russian person lived - and still lives to this day.”
The events of childhood are conveyed by the writer in as much detail as possible, since each episode in the hero’s life influences the formation of character. Alyosha perceives the trials that befell him differently: for example, after the grandfather beat his grandson for ruining the tablecloth, the “days of ill health” became “great days of life” for the boy. It was then that the hero began to understand people better, and his heart “became unbearably sensitive to any insult and pain, his own and that of others.”
Gorky’s work “Childhood” is small in volume, has the boundaries of the traditional genre of the story: one main storyline associated with an autobiographical character, and all the secondary characters and episodes help to reveal Alyosha’s character and express the author’s attitude to what is happening. The writer simultaneously gives the main character his experiences and at the same time contemplates the events described as if from the outside, giving them an assessment: “...is it worth talking about this? This is the truth that needs to be known to the roots, in order to root it out of memory, from a person’s soul, from our entire life, difficult and shameful.”
So, describing childhood, the early stage of the formation of a little person, M. Gorky creates a work that is unique in its genre - an autobiographical story.

Municipal budgetary educational institution "Secondary school No. 63 with in-depth study of individual subjects"

Abstract topic:

“Features of the style of A.M. Gorky’s story “Childhood”

Performed:

Savelyeva Ekaterina

7th grade student.

Supervisor:

Bubnova Olga Ivanovna .

Nizhny Novgorod

2013

Content

1. Introduction. Purpose of the essay 4 pages.

2. Features of the genre of Gorky’s story “Childhood” 5 p.

3. The originality of Gorky’s portrait 7 pp.

4. The relationship of the subjective (narration from Alyosha’s point of view) 12 pp.

5. Speech as a means of revealing the character of the heroes of M. Gorky's story 13 pages.

"Childhood"

6. Use of vocabulary that conveys the characteristics of child psychology 15 p.

hero

7. Landscape as one of the ways to reveal the inner world of heroes 16 p.

8. Conclusion 18 pages.

9. Note 19 p.

10. Used literature 20 pages.

11.Appendix 21 pages.

I . Introduction. Purpose of the abstract.

Each writer has his own way of implementing a creative plan, his own artistic ideas, a manner that distinguishes him from others.

The writer cannot help but reflect his personality in his work, show his understanding of life, his assessment of the events depicted. In every hero of the work, in every work of the writer, the unique “I” of the artist is embodied.

L.N. Tolstoy once said that the reader, turning to a work, says: “Come on, what kind of person are you? And how are you different from all the people I know, and what new can you tell me about how we should look at our lives?”

The writer’s life experience and talent make each work special. “Style is the person,” says the French proverb.

There are various definitions of style. But many linguists agree on one thing: the main elements of style are language (rhythm, intonation, vocabulary, tropes), composition, and details of subject expressiveness. And, as mentioned above, style is closely related to the writer’s personality, his views on the world, on people, and the tasks that he sets for himself.(1)

According to scientists L.I. Timofeev and G.N. Pospelov, the writer’s style “is most clearly manifested in his language.” (Ibid.). The genius of a creative writer lies “in the ability to select from our richest vocabulary the most accurate, strongest and clearest words.”(2) “Only combinations of such words that are correct - according to their meaning - the arrangement of these words between points,” argued M. Gorky, “can formulate the author’s thoughts in an exemplary manner, create vivid pictures, sculpt living figures of people so convincingly that the reader will see what is depicted by the author.”(3) These requirements for the language of a work of art can serve as the main provisions in identifying the features of the style of the story “Childhood”, in which, like his entire trilogy (“Childhood”, “In People”, “My Universities”), “M. Gorky’s art of words reaches special height." (4)

Purpose of the abstract - on the basis of linguistic analysis, to identify the originality of the style of M. Gorky’s story “Childhood”.

II . Features of the genre of Gorky's story "Childhood".

The plot of M. Gorky’s story “Childhood” is based on facts from the writer’s real biography. This determined the features of the genre of Gorky’s work - an autobiographical story.In 1913, M. Gorky wrote the first part of his autobiographical trilogy “Childhood,” where he described the events associated with the growing up of a little man. In 1916, the second part of the trilogy “In People” was written, it reveals the hard work life, and a few years later in 1922, M. Gorky, finishing the story about the development of man, published the third part of the trilogy - “My Universities”.

The peculiarity of “Childhood” is that the narration is told on behalf of the narrator. This type of presentation was used by many writers: I. A. Bunin (“Figures”), L. N. Tolstoy (“Childhood”, “Adolescence”, “Youth”), I. A. Bunin (“The Life of Arsenyev”), etc. D. This fact makes the events more reliable, and also helps the hero’s inner experiences.

But the uniqueness of Gorky’s narrative is that what is depicted in the story is seen simultaneously through the eyes of a child, the main character, who is in the thick of things, and through the eyes of a wise man, assessing everything from the standpoint of great life experience.

The writer simultaneously gives the main character his thoughts and feelings and at the same time contemplates the events described as if from the outside, giving them an assessment: “... is it worth talking about this? This is the truth that needs to be known to the roots, in order to root it out of memory, from a person’s soul, from our entire life, difficult and shameful.”

Thus, expressing the author’s position, M. Gorky describes the “leaden abominations of wild Russian life,” and for this purpose he chooses a special genre for his narrative - an autobiographical story.

III .The originality of Gorky's portrait.

The features of the writer’s creative style are manifested in the originality of the portrait.

A portrait is one of the ways to depict heroes. Highlighting the details and defining their role allows us to conclude that each writer has his own principles for revealing the character’s character. “In M. Gorky - a portrait is an impression, a portrait is an assessment”(5), which the writer gives to the heroes.

1. Portrait of the protagonist’s grandmother.

The dearest person to the main character was his grandmother. The appearance of the grandmother is given in the story through the eyes of Alyosha, who sees in her appearance “many wrinkles on the dark skin of the cheeks” and “a loose nose with flared nostrils and red at the end”, and notes that “she is stooped, almost hunchbacked, very plump” . But, despite these features, which do not embellish the heroine, the portrait of the grandmother is sublime. The impression of the description of the grandmother’s appearance is enhanced by the antithesis skillfully used by the writer, in which “dark” and “light” are compared: “dark... pupils dilated, flashed with an inexpressibly pleasant light”, “dark skin of the cheeks” - “light face”, “all of her - dark, butglowed from the inside - through the eyes - unquenchable, cheerful and sunnylight ».

The inversion used by the writer gives emotional and rhythmic expressiveness to the portrait description: “she said chanting the words in a special way, and they easily became stronger inmy memory , similar to flowers, just as tender, bright, juicy.”

Here one cannot fail to note the expressive comparison of the grandmother’s words with “flowers.” The next sentence compares “pupils” with “cherries.” These comparisons from the natural world are far from accidental. Using them, Gorky, as it were, introduces the reader into the world of observations, impressions and ideas of the hero-storyteller, through whose eyes the characters and events of the work are seen.

But comparisons between people and animals are especially often used in the story. Taken from the boy’s life experience, they convey not so much the appearance of the heroes of the story “Childhood”, but rather their behavior and the attitude of the heroes towards them, the manner of movement. So, for example, the grandmother in the portrait of Chapter 1 “was stooped, almost hunchbacked, very plump, and moved easily and deftly,definitely a big cat - she’s just as soft,like this gentle beast." The comparisons used by the writer in describing a person not only reflect how Alyosha perceives life, but also add vividness and imagery to numerous descriptions.

The following description of the grandmother’s appearance is very expressive: “Sitting on the edge of the bed in only a shirt, all covered in black hair, huge and shaggy, she waslooks like a bear , which was recently brought to the yard by a bearded forest man from Sergach.”

The portrait of the grandmother is complemented by a dancing scene. The music and the rhythm of the dance movements transformed the heroine, she seemed to become younger. “Grandma didn’t dance, but seemed to be telling something.” Through dance, the heroine conveyed her soul, talked about the difficult lot of women, about life’s difficulties and adversities, and when her face “shone with a kind, friendly smile,” it seemed that she was remembering something joyful and happy. The dance changed Akulina Ivanovna: “she became slimmer, taller, and it was impossible to take your eyes off her.” The dance brought the heroine back to the days of her carefree youth, when you don’t yet think about tomorrow, you feel unreasonably happy, and you believe in a better life. During the dance, the grandmother became “violently beautiful and sweet.”

Describing the very nature of the dance, the author uses expressive metaphors and comparisons: “floated on the floor silently, as if through air”, “the large body hesitates hesitantly, the legs carefully feel the way”, “the face trembled, frowned and immediately shone with a kind, friendly smile”, “ rolled to the side, giving way to someone, moving someone away with her hand,” “froze, listening,” “she was torn from her place, spun in a whirlwind.” These artistic means allow you not only to see the picture being described, but also to feel the state of the heroine.

Grandmother's dance is a leisurely story about a life lived, happy moments, difficult trials, unforgettable impressions.

So, the episode of Gorky’s story “Childhood,” conventionally called “Grandma’s Dance” and given in the perception of the hero-narrator, reveals the image of Akulina Ivanovna in a new way, conveys her experiences and complex inner world.

The portrait of the grandmother from the first chapter begins and ends with an epithet - the leitmotif “affectionate” (“affectionate flowers” - “affectionate beast”). It is also interesting that the contrast inherent in it naturally “flows” into the author’s soulful reflections on the role of grandmother in Alyosha’s life with the same antithesis: “darkness” - “light”: “Before her, it was as if I was sleeping, hidden indarkness , but she appeared, woke her up, took her tolight, she tied everything around me into a continuous thread, wove it into multi-colored lace and immediately became a lifelong friend, the closest to my heart, the most understandable and dear person - it was her selfless love for the world that enriched me, saturating me with strong strength for a difficult life.”

The connection between the grandmother’s portrait and the author’s thoughts is also manifested in the use of attributive pronouns “all”, “most”, which convey the exhaustion of a sign or action: in the description of the grandmother’s appearance - “the whole face seemed young and bright”, “she was all dark, but glowed from within ..."; in reflection - “everything around me...”, “for life”, “the closest to my heart, the most understandable and dear person...”. A very vivid and precise metaphorical image, revealed in one sentence - a memory of the role of the grandmother in Alyosha's life, belongs not to the hero-storyteller, but to the writer - the “artist”.

2. Portrait of grandfather Kashirin and Gypsy.

Analyzing the portraits of Gorky's heroes, one can understand that specific external details are not as important to the writer as the attitude of the narrator and other characters towards them.

Alyosha doesn’t know anything about his grandfather, but the boy is drawn to kindness and affection. He peers at his grandfather, and there is not a single feature that would touch the boy’s sensitive soul or endear him to himself. Alyosha feels the authority and energy of his grandfather: “A small, dry old man walked quickly ahead of everyone.” The red beard, birdlike nose, and green eyes alarm Alyosha. Alyosha is offended that his grandfather “pulled” him out of the crowd of people; having asked a question, did not receive an answer; “pushed” his grandson aside like a thing. Alyosha immediately “sensed an enemy in him.” I didn’t like everyone else either - silent, unfriendly, indifferent.

In Chapter 2, very interesting from the point of view of succinct, precise comparisons characterizing both the grandfather and his sons, the phrase appears: “Shortly after arriving in the kitchen, during lunch, a quarrel broke out: the uncle suddenly jumped to his feet and, leaning over the table , becomehowl and growl on grandpapitifully baring his teeth and shaking himself like dogs , and the grandfather, banging his spoon on the table, blushed all over and loudly - like a rooster - shouted: “I’ll let you go around the world!”

But the grandfather’s appearance is very contradictory. Kashirin acts, obeying a momentary feeling, without thinking about the consequences, and then regrets what he did. The boy does not always see him as angry and cruel. In the scene of visiting the sick Alyosha, grandfather Kashirin seems to him at first “even more red-haired”, hateful. The cold blows on the child from the grandfather. Comparisons “he appeared as if he had jumped from the ceiling”, “with a hand as cold as ice” he touched his head, a comparison with a bird of prey (on his grandfather’s “small, hard hand” the boy noticed “crooked, bird-like nails ") testify to the bitter resentment of the child: no one has ever humiliated him so much as his grandfather, who whipped his grandson until he lost consciousness.

However, gradually, listening to his grandfather, Alyosha discovers a different side of him. The sensitive heart of a child responds to the “strong, heavy words” of his grandfather about his orphan childhood, about how in his youth he “pulled barges with his strength against the Volga.” And now Alyosha sees: the wizened old man seems to grow like a cloud and turns into a fabulous hero who “alone leads a huge gray barge against the river.”

And the author, wise from life experience, understands that his grandfather taught him, albeit cruel, but a useful lesson: “From those days, I developed a restless attention to people, and, as if the skin had been torn from my heart, it became unbearably sensitive to any insult and pain, one's own and another's."

In subsequent chapters, Alyosha’s attitude towards grandfather Kashirin is also told using a comparison with a ferret: “And my grandfather brutally beat me for every visit to a parasite that became known to him,red ferret." And for the first time, the hero’s characteristic comparison with a ferret appears in the story in the fire scene: “He lit a sulfur match, illuminating his face with blue fireferret smeared with soot..."

Gorky’s favorite comparisons of people with animals and birds, conveying Alyosha’s vision of people, are not always negative. An example of this is a sentence full of vivid metaphors and comparisons, which captures the dance of the Gypsy during “strange fun” in the kitchen: “The guitar was ringing madly, the heels were clicking loudly, the dishes were rattling on the table and in the closet, and in the middle of the kitchen the Gypsy was blazing with fire,flew like a kite , waving his arms,like wings, imperceptibly moving his legs, whooping, squatted on the floor andrushed about like a golden swift , illuminating everything around with the shine of silk, and the silk, shuddering and flowing, seemed to be burning and melting.”

Dexterous, graceful Gypsy in his movements. Soul and talent, “bright, healthy and creative” were revealed in his dance. The Gypsy’s dance left no one indifferent; it awakened vivid feelings in those present. Gorky chose a very precise, emotional comparison in order to show the sudden change that happened to people: melancholy and despondency disappeared, they “at times twitched, they screamed, squealed, as if they had been burned.”

IV . The relationship between the subjective (narration on behalf of Alyosha) and the objective (on behalf of the author) in M. Gorky’s story “Childhood”.

The story “Childhood” is characterized by the interweaving of what Alyosha saw and felt with the author’s own reflections on the past.

The writer strives to highlight the most important events of childhood and separate his author’s thoughts from what Alyosha tells by using the words “remember”, “memorable”, “memorably”, “remembered”. From this point of view, the very beginning of chapter 2 is noteworthy: “A thick, motley, inexpressibly strange life began and flowed with terrible speed. SheI remember how harsh life is. SheI remember , like a harsh tale well told by a kind but painfully truthful genius.Now, reviving the past, I myself sometimes have a hard time believing that everything was exactly as it was, and I want to dispute and reject a lot - the dark life of the “stupid tribe” is too rich in cruelty. Here are the words"remembers me" And"now, reviving the past" belong to the author and help the writer to separate his memories and thoughts about the past from what he saw and experienced by the hero - the narrator.

Analyzing the beginning of chapter 2, one cannot help but note a striking comparison“a motley, inexpressibly strange life” With“a harsh tale told by a kind but painfully truthful genius.” This is a comparison and an extended metaphor, contained in one short sentence:“Grandfather’s house was filled with the hot fog of mutual enmity of everyone with everyone,” They embody the author’s memories of childhood and are the key to understanding all the episodes telling about the life of the Kashirins.

The conclusions of Chapter 12 about the “fat layer of all bestial rubbish” and about “our rebirth to a bright, human life” belong precisely to the writer, an objective and wise artist, remembering and reflecting on childhood (“Memories of these leaden abominations of wild Russian life, I ask for minutes myself: is it worth talking about this?"). In addition, the story often contains the words “I don’t remember”, “unmemorable”, giving the reader the feeling that the author based his story on the most significant and important events of childhood (“I don’t remember, how the grandfather felt about these sons’ amusements, but the grandmother shook her fist and shouted: “Shameless faces, evil spirits!”).

V . Speech as a means of revealing the character of the characters in M. Gorky’s story “Childhood”.

Speaking about the originality of Gorky's style, one cannot help but say about the speech of the characters. M. Gorky said more than once that “a writer must look at his heroes precisely as living people, and he will find them alive when he finds in any of them, notes and emphasizes the characteristic, original feature of speech, gesture, figure, faces, smiles, eye play, etc.” When analyzing the speech of the characters in “Childhood,” one should turn to the direct characteristics of their statements, which belong to the hero-narrator.

He is a sensitive and attentive listener and accurately characterizes the conversational manner of almost every character in the work. Noting the great influence of the grandmother on Alyosha, it is necessary to pay attention to how the boy perceives the stories and remarks of Akulina Ivanovna: “She tells fairy tales quietly, mysteriously, looking into my eyes with dilated pupils, as if pouring into my heart the strength that understands me. He speaks as if he were singing, and the further he goes, the more complex the words sound. It’s an indescribable pleasure to listen to her.” The melodiousness of my grandmother’s speech is also emphasized in the words that open her portrait: “She spoke, somehow singing the words in a special way, and they easily became stronger in my memory...”

The power of the grandmother’s influence on Alyosha is also revealed in a characteristic comparison: “exactlypouring in there is strength in my heart,” which makes me remember again the words: “...it was her selfless love that enriched me,satiating strong strength for a difficult life." Metaphorical images “pouring into my heartforce " and " having satiated with strongby force “They talk about the huge role of the grandmother in shaping the boy’s character.

In chapter 3 of the story, the grandmother again appears before the reader as a wonderful storyteller: “Now I again lived with my grandmother, as if on a ship, and every evening before going to bed she told me fairy tales or her life, also like a fairy tale.” The nature of the grandmother’s speech changes depending on what she is talking about. Answering Alyosha’s question about the Gypsy, she “willingly and understandably , As always…explained" that each of the uncles wants to take Vanyushka with them when they have their own workshops; and touching upon the upcoming division of household property, “sheshe spoke, laughing aloofly, somehow from afar..."

Each chapter of the story provides rich material for the speech characteristics of the characters. Thus, the grandmother’s direct speech in the fire scene emphasizes the decisiveness and resourcefulness of her behavior. The grandmother’s speech is dominated by short remarks, which, as a rule, are addressed to a specific person: “Evgenya, take off the icons! Natalya, dress the boys! - Grandmother commanded sternly, in a strong voice...” “Father, bring out the horse! – wheezing, coughing, she screamed...” “The barn, neighbors, defend it! The fire will spread to the barn, to the hayloft - everything that we have will burn to the ground and yours will be taken care of! Cut the roof, the hay goes into the garden! Grigory, throw whatever you are throwing to the ground from above! Yakov, don’t fuss, give people axes and shovels! Fathers-neighbors, come together as friends - God can help us.” This is why Grandma seems “as interesting as a fire.” In the scene of the fire, Sharap’s horse, which is “three times her size,” is called a “mouse” by her grandmother. Nouns with diminutive suffixes are very often found in the speech of one of the main heroines of the story.

VI . The use of vocabulary that conveys the characteristics of the hero’s child psychology.

At first glance, the words “didn’t like”, “liked”, “strange”, “interesting”, “unpleasant”, characteristic of the child on whose behalf the story is told, are insignificant in the language of the story. Alyosha discovers the world before the eyes of the readers, the unknown and incomprehensible lie in wait for him at every step, and he likes or dislikes a lot (“Both adults and children, I didn’t like them all...”), and a lot seems unusual, interesting and strange (for example, “ strange fun" in the kitchen). Chapter 1 ends with these words: “... the invisible man spoke loudlystrange words : sandalwood-magenta-vitriol.” The beginning of chapter 5 also attracts attention: “By spring, a biginteresting house on Polevaya Street..." In the fire scene "weird smells wafted through the yard"squeezing tears from my eyes."

The impressionable Alyosha watched enchantedand forfire. Without looking up, he looked at the red flowers of the fire that bloomed against the background of the dark, quiet night. Golden red ribbons, silk rustling against the workshop windows. The workshop, engulfed in fire, looked like a church iconostasis burning in gold.

It was interesting for Alyosha to watch his grandmother. She herself was like fire. She rushed around the yard, keeping up with everything, in charge of everything, seeing everything.

This scene, which is the culmination of the story, is written in the spirit of romanticism. This is evidenced by the combination of red and black colors (the colors of anxiety, suffering, tragedy - “red flowers”, “the snow glowed crimson”, “dark clouds”, “in a quiet night”, “on dark boards”), and an abundance of bright epithets (“ curly fire"), comparisons, metaphors, ("golden, red ribbons of fire wriggled", "the fire played merrily, filling the cracks of the workshop walls with red"), the presence of an exceptional hero - a grandmother who, being burned herself, did not feel her pain, first of all , thought about other people.

One cannot help but compare this episode with the scene of the “fire in Kistenevka” in the novel by A.S. Pushkin "Dubrovsky". The boys, seeing the manor house on fire, jumped joyfully, admiring the “fiery blizzard.” They were also interested in watching the fire. Both writers and A.S. Pushkin and M. Gorky absolutely accurately conveyed the psychology of children who are interested in everything, who are attracted to everything bright and unusual.

VII . Landscape as one of the ways to reveal the inner world of heroes.

One of the means of revealing the hero’s inner world is the landscape. The first chapter of the story shows the attitude of the grandmother and Alyosha to nature and the Volga landscapes.

“Look how good it is!” - these words belong to the grandmother; “...cities and villages line the banks,looks like gingerbread from a distance ...” - this is Alyosha’s perception: “... we drove to Nizhny for a very long time, and I felt goodI remember these first days are filled with beauty.” This episode is reminiscent of Nikolenka Irtenyev’s trip to Moscow after the death of her mother, which left a joyful impression on him: “... constantly new picturesque places and objects capture my attention, and spring nature instills in my soul joyful feelings - contentment with the present and hopes for the future ... Everything is so beautiful around me, but my soul is so light and calm..." Comparing these episodes, it is impossible not to see the similarity in the perception of nature by Nikolenka Irteniev and Alyosha Peshkov after the loss of loved ones befell both.

Akulina Ivanovna subtly and deeply loves nature. Beautiful pictures of nature—the onset of night and early morning—are given in the perception of this amazing woman: “...she...tells me for a long time about something, interrupting her speech with unexpected insertions: “Look, a star has fallen!” This is someone's pure darling who is yearning for mother earth! This means that now somewhere a good person has been born.” The speech uses words with diminutive suffixes, which makes it close to the language of works of oral folk art. In the image of a grandmother, the author conveys her high spirituality and the ability of a person from the people to deeply perceive the beauty of nature, which enriches a person: “A new star has risen, look! What a big-eyed one! Oh, you are heavenly heaven, God’s robe.”

The landscapes of Chapter 12, distinguished by genuine musicality and rhythm, help to understand their role in the formation of the inner world of Alyosha Peshkov. The boy deeply feels the beauty of nature, as evidenced by the expressive metaphors and comparisons used here: “The night comes, and with itsomething strong and refreshing pours into your chest , like the kind caress of a mother, silencegently strokes the heart with a warm, furry hand , Anderased from memory everything that needs to be forgotten, all the acrid, fine dust of the day.” An appeal to the words that convey the influence of the morning landscape on the boy: “The lark rings invisibly high, and all the colors and sounds are like dewseep into the chest, causing calm joy , awakening the desire to get up quickly, do something and live in friendship with everything alive around,” makes it possible to understand the similarity of artistic images that paint beautiful pictures of night and morning.

Analysis of these landscapes allows us to see the beneficial influence of nature on a person who has a keen sense of it. These pictures of nature, drawn by the hand of a writer-artist (“You need to write in such a way that the reader sees what is depicted in words as accessible to touch”(6), with particular force they force us to perceive the writer’s contrasting conclusion about the “leaden abominations of wild Russian life,” which are “a kind of culmination of the author’s presence in the story “Childhood.”(7)

VIII . Conclusion.

The genius of a creative writer lies in the ability to select the most accurate, most powerful and clear words from the richest vocabulary of the language. A. M. Gorky wrote: “...Words must be used with the strictest precision.” Gorky himself admired his predecessors, the great classical writers who skillfully used the richness of the popular language. He believed that the value of literature lies in the fact that our classics selected the most accurate, bright, weighty words from the chaos of speech and created a “great beautiful language.”

The language of “Childhood” in its specificity, richness, change of tone in the description of individual characters, wise restraint in the accumulation of expressive means puts the story in one of the first places among other works

A. M. Gorky.

Observations on the style of the autobiographical story “Childhood” show that “genuine verbal art is always very simple, picturesque and almost physically tangible.”(8)

IX. Notes

(1) Style theory.bookseller. ru> obschie/ theory – stlya.

(2) Linguistic features of M. Gorky’s story “Childhood”.antisochinenie. ru>…_ M._Gorky_ “Childhood”.

(3) Linguistic features of M. Gorky’s story “Childhood”.antisochinenie. ru>…_ M._Gorky_ “Childhood”.

(4) Gorky. A.M. The language of his works.yunc. org>

(5) M. Bitter. About the language. ModernLib.ru>

(6) On simplicity and clarity of presentation in poetry.proza. ru>2011/09/20/24

(7) E.N. Kolokoltsev. Stylistic analysis of M. Gorky’s story “Childhood”. “Literature at school”, No. 7, 2001.

(8) On simplicity and clarity of presentation in poetry.proza. ru>2011/09/20/24

X . References .

1.Analysis of the episode “Granny’s Dance.”en. Withoolreferat. com> Analysis_of_the_episode_Grandmother's_Dance.

2.A.M. Bitter. The story "Childhood". M. "Children's literature." 1983

3. M. Gorky. About the language.ModernLib.ru>books/maksim_gorkiu/o_uazike/read_1/

4. Gorky. A.M. The language of his works.yunc. org>GORKY_A._M.LANGUAGE OF HIS WORKS.

5. Childhood in the works of Gorky.student. zoomru. ru .> lit/ childhood… gorkogo… s4 htmmm/.

6. Abstract “Features of the genre of M. Gorky’s story “Childhood.”roni. ru> referaty/ literature/

7. E.N. Kolokoltsev. Stylistic analysis of M. Gorky’s story “Childhood”. “Literature at school”, No. 7, 2001.

8. Literature. Beginner course. 7th grade. Textbook-reader for educational institutions. Part 2. Ed. G.I. Belenky. – M. Mnemosyne, 1999.

9. On simplicity and clarity of presentation in poetry.proza. ru>2011/09/20/24

10.The theme of childhood in the prose of Maxim Gorky.fpsliga. Ru> socyineniya_ po_ literatur_/

11.Theory of style.bookseller. ru> obschie/ theory – stlya.

12. Linguistic features of M. Gorky’s story “Childhood”.antisochinenie. ru>…_ M._Gorky_ “Childhood”.

XI .Application.

Table No. 1 . « Methods of creating a portrait in M. Gorky’s story “Childhood”.

Grandma Ivanovna

Ivanovna

Grandfather Kashirin

Gypsy

Antithesis

dark... the pupils dilated and flashed an inexpressibly pleasantlight », « dark cheek skin" - "facelight ", "all of her - dark , But glowed from the inside - through the eyes - unquenchable, cheerful and sunnylight ».

"grew before me, turningfrom a small, dry old man into a man of fabulous strength.”

« white teeth would be underblack a strip of young mustache.”

Comparison

"words … like flowers”, “moved easily and deftly,definitely a big cat - she's just as softlike this affectionate beast,” “her pupils dark as cherries.”

« With a redhead,like gold , goatee,with a bird's nose" , blushed all over and loudly -rooster crowed : “I’ll let you go around the world!”

"as if jumping from the ceiling , appeared", "a hand as cold as ice ", on the "small, hard hand" of his grandfather, the boy noticed« crooked, bird-like nails "), "grows like a cloud."

« flew like a kite , waving his arms,like wings »,

« rushed about like a golden swift » .

Metaphor

« floated across the floor silently”, “she was torn from her place, whirled around in a whirlwind”, “the large body hesitates hesitantly, her legs carefully feel the way.”

"Grandfatherpulled out me from a close crowd of people", "eyes bright flared up », « blew it in the face to me".

« was burning with fire Gypsy", "the shirt was burning, softly reflecting the red fire of the unquenchable lamp.”

Inversion

« she said , words were strengthened inin my memory ».

« person fabulous power."

Epithets

« affectionate flowers" - "affectionate beast".

dry old man", on "strong, heavy words",

« small, tough hand."

« Square, broad chested , Withhuge curly head, "funny eyes".

Hyperbola

« one is driving a huge gray barge against the river ».

So, Gorky’s portrait (portrait-impression, portrait-assessment) is one of the most important means of revealing the characters of the characters in the story.

Table No. 2 “The use of vocabulary that conveys the characteristics of the hero’s child psychology.”

"didn't like it"

“Both adults and children - everyonedidn't like it to me",
"especiallydidn't like it me grandfather", "medidn't like it that they call me Kashirin,”

"liked"

« I liked it I feel how good, fun and friendly they are playing unfamiliar games,liked their costumes

"strange"

"The invisible man spoke loudlyweird words”, “began and flowed...inexpressiblystrange life", "weird smells wafted through the yardy, squeezing tears from his eyes,” “coughedstrange , dog sound", "Good Deed is worried about something: heWeird , moved his hands frantically.”

"interesting"

“Everything was scaryInteresting », « Interesting and it was nice to see how she wiped the dust from the icons,” “by spring I bought a largeinteresting house on Polevaya Street...", "grandmother was the sameinteresting , like a fire", "told meinteresting fairy tales, stories, she spoke about my father.”

"unpleasant"

"The yard was alsounpleasant ", "Sometimes he looked at me for a long time and silently, his eyes widening, as if noticing me for the first time. It wasunpleasant ", "All this is also like a fairy tale, interesting, butunpleasant , frightening."

"Nice"

" wasNice fight back alone against many", "It has always beenNice to me".

The words “didn’t like”, “liked”, “strange”, “interesting”, “unpleasant” are characteristic of the child on whose behalf the story is being told. Alyosha Peshkova opens the world to the eyes of readers, the unknown and incomprehensible lie in wait for him at every step, and he likes or likes a lot I don’t like it..."), and many things seem unusual, interesting and strange.

B.A. Dekhterev. House of the Kashirins.

B.A. Dekhterev. Alyosha's grandmother.

B.A. Dekhterev. Grandma's dance.

B.A. Dekhterev. Alyosha's grandfather.

Table No. 3 “In the creative laboratory of 7th grade A students. Portrait of Grandfather Kashirin through the eyes of seventh graders."

Keywords

Quotes from the text

Appearance

looks like a raven, black like a raven; small, fit, the grandfather looked like a small black bird, the black tails of his frock coat fluttered in the wind like wings, a threat emanated from him; as if he was burning with anger, hatred from within, there is something witchcraft, from evil spirits

epic hero, hero

Watched

Said

Alyosha's attitude towards his grandfather

deep down he is a kind person who has experienced a lot and has a strong spirit.

The linguistic tasks offered to the children allowed them to pay more attention to the writer’s words and discover new facets in the image of the hero, to better understand the complex character of Kashirin, whose portrait is given in detail for individual chapters of the story.

Kashirin through the eyes of seventh graders.”

Keywords

Theme development

Quotes from the text

Material collected by seventh graders

Appearance

“a dry old man”, “in a black robe”, “with a bird’s nose”, “all folded, chiseled, sharp”;

“grandfather began to shuffle his foot along the floor, like a rooster before a fight”;

“his satin, silk-embroidered, blank waistcoat was old and worn out, his cotton shirt was wrinkled, there were large patches on the knees of his pants, and yet he seemed dressed cleaner and more handsome than his sons.”

looks like a raven, black like a raven; small, fit, the grandfather looked like a small black bird, like a raven, the black tails of his frock coat fluttered in the wind like wings, a threat emanated from him; as if he was burning with anger, hatred from within, there is something witchcraft, from evil spirits

walked quickly, with small steps, minced, warlike gait, as if constantly ready for a fight

nose sharp, beak-like, hooked nose

“grew up before me, transforming from a small, dry old man into a man of fabulous strength.”

epic hero, good storyteller

Watched

“green eyes”, “grandfather is watching me with smart and keen green eyes”; “I always wanted to hide from those burning eyes”

looked attentively, intently, from under his brows, sullenly, evilly, mockingly, unfriendly, his gaze burned through him like fire

his eyes were evil, prickly, frightening, cold, like pieces of ice, his gaze sent shivers down your back, you became scared, you wanted to run away, become invisible, a terrible, burning gaze

Said

“he speaks to everyone mockingly, insultingly, provoking and trying to anger everyone”; “It was strange that such a little one could scream so deafeningly”

words were angry, offensive, poisonous, mocking, malicious, offended, clung like burrs, like thorns, stung painfully, like snakes, shouted, squealing loudly, abruptly, as if he wanted to peck

Alyosha's attitude towards his grandfather

“I clearly saw that my grandfather was watching me with his smart and keen green eyes, and I was afraid of him”; “it seemed to me that my grandfather was evil”;

“he talked until the evening, and when he left, bidding me affectionately, I knew that grandfather was not evil and not scary”

did not like, was afraid and hated, felt hostility and curiosity, looked closely at my grandfather, saw in him something new, hostile, dangerous

deep down he is a kind, strong-willed person

The linguistic tasks offered to the children allowed them to pay more attention to the writer’s words and, in the image of the hero, whose portrait is scattered in detail throughout the individual chapters of the story, to discover new facets.

B.A. Dekhterev. Alyosha's grandfather.

"Childhood" by L. Tolstoy is the initial part of the novel "Four Epochs of Development", conceived in the summer of 1850. The story was published in the Sovremennik magazine in 1852. The story “Adolescence” (1854) was dedicated to the “second era”, and “Youth” (1857) to the third; "Youth", "the fourth era", was not written. In 1859, the chapters “Teacher Karl Ivanovich” and “Separation” under the title “The History of My Childhood” were placed in the “Collection of Selected Places of Children’s Writers.”

Despite the fact that the story was not intended by L. Tolstoy for children's reading, it appeared in some alteration in the "Russian Reader" by A. Filonov, and the chapter “Long Journey” was included in A. Galakhov’s anthology.

In L. Tolstoy’s ideological and artistic system, the category of childhood is associated with the basic moral and philosophical quests of the writer.

Childhood was understood by Tolstoy as a natural human beginning, opposed to vanity, war, death; as an opportunity for empathy, sympathy, a person’s movement towards other people. This is a special mental state of a person, a measure of the maturity of his soul. And in the writer’s favorite characters, the childish principle is embodied, which, as an expression of the natural nature of man, always opposes the artificial, false, false.

In the trilogy, for the first time in Russian literature, the problem of character formation was posed. The consciousness of the hero - Nikolenka Irtenyev - reflected the entire rich world of impressions: childhood, adolescence, youth, family, class, non-class. Gradually they are processed, as a result of which the hero changes: he truly “moves” as the world moves around him.

“Childhood” is a person’s look from the adult world back to the child’s world. However, the reader is revealed to all the purity and naivety of the child’s perception of the world and on behalf of the child.

A month passes between the first and second days. In the fabric of the narrative they are separated by an excited lyrical digression, where two temporal layers are combined - the past, in which the charm of childhood remains, and the present, from where the narrator looks at himself - a child.

The events of the second day relate to Nikolenka’s stay with her father in Moscow, in her grandmother’s house. This is preparation for grandma's name day (writing poetry), guests, mazurka, impressions of new acquaintances, the mystery and unknown of first love.

Six months after what was described - the events of several days, during which they learn from the letter about the mother's illness, the departure to the village takes place, and the funeral takes place. The story ends with the narrator's story about what happened in the village when, after burying his mother, Nikolenka left for Moscow. These are heartfelt words about Natalya Savishna, about how her last days passed. This fragment of the work opens the chronological (from August 18 to approximately April 18) boundaries of the narrative related to childhood.

Few events take place in the story. Of course, they represent life milestones. However, much more important are internal milestones, impressions, which are stages of experiencing and growing up. The history of impressions is the content of “Childhood”. These impressions are fluid: they make a little person perplexed, because the same thing, it turns out, can be understood and interpreted differently, and both understandings will turn out to be correct, while the line that separates one from the other turns out to be absolutely invisible.

"Childhood years of Bagrov the grandson" S.T. Aksakova(1791-1859). This work, published in 1858, was a continuation of “Family Chronicle” (1856) - a story about the Bagrov family, the story of which was based on autobiographical material. "Childhood..." was conceived as a book about childhood and at the same time - as a book for children, which the writer dedicated to his six-year-old granddaughter - it was a gift on the day of her birth.

But it is precisely the second half of the task (writing a book for children) created the greatest difficulties for Aksakov, and he turned to many familiar writers for advice and help. One of the first among them was I.S. Turgenev, who warmly supported Aksakov’s plan. In his address “To Readers,” the author writes that the content of the story consists of stories about his childhood years of Sergei, the grandson of Stepan Mikhailovich Bagrov. In the "Introduction" Sergei Bagrov draws attention to the fact that what is important for him is not the actual sequence of events, but the brightness of the colors, the liveliness of what is happening, the reality of which he has no doubt.

“The Childhood Years of Bagrov the Grandson” is a story about Serezha’s childhood from infancy to the age of nine. The fabric of the work consists of two layers of unequal volume: “Fragmentary memories”, relating to the very first impressions of childhood and devoid of any cause-and-effect conditionality, and “Successive memories” - their content, as a rule, is confined to certain circumstances, events, who are related to the boy's family.

The Bagrovs live in Ufa, from where they travel to the village. The titles of seven chapters out of eighteen speak about travel and relocations: “The Road to Parashino”, “The Road from Parashin to Bagrov”, “Return to Ufa to City Life”, etc. The main character of the story - Seryozha Bagrov - is a receptive, sensitive boy, capable to strong sensual and deep experiences. The writer talks about what influences the inner world of a child.

First of all, this is the beauty of nature, the ability to see which is brought up in Seryozha by his father, Alexey Stepanovich Bagrov. A landowner who runs a farm, he tells his son a lot. So, in Parashin, on the way to the mill, they see the amazing Parashin springs, which delight the boy: they were filled with such clear water that they seemed empty; the water overflowed all over the deck, falling to the sides like a glass fringe.”

The powerful force of nature amazes Seryozha. Crossing Belaya with his parents, the boy is afraid, but he is delighted by the greatness of the river, the beauty of which he felt.

In the story, nature is given not as a background, not as a beautiful decoration; she, described without undue affection, is part of life shapes the soul of a child who learns to see its complex life in diverse connections with a person. And here Yevseich helps him - his uncle, a serf, who tenderly loved the boy, protected him from all troubles and lovingly called him “falcon”. He explains to the boy many of the laws of life and nature; These explanations are simple and intelligible, because Evseich “translates” complex natural patterns into the language of ordinary everyday ideas. The guy teaches the boy to fish, and fishing becomes Serezha’s passion. However, he does not like fishing with nets: this eliminates the spirit of competition with nature. The boy experiences the pleasure of fishing with a fishing rod.

In addition to impressions from nature, the boy’s inner world is formed under the influence of reading, which he fell in love with early on. The magazine N.I. made the strongest impression on him. Novikov's "Children's reading for the heart and mind", an incomplete set of numbers of which was given to the boy by a Ufa neighbor. Basically, books are most in demand by Seryozha during illnesses or in winter, when it is impossible to stay outside for a long time.

With bated breath, Seryozha listens to the fairy tales of the housekeeper Pelageya - “The Scarlet Flower”, “The Firebird”, “The Tsar Maiden”, “Ivan the Fool”, “The Snake of Gorynych”. The boy does not understand everything he reads on his own. So, he only looks at the plans and drawings, explaining to his sister in his own way “what each figure represents and means.” However, he remembers a lot for a long time: he learned children’s songs from Kampe’s book by heart, and Xenophon’s book became his favorite reading, and, as an adult, Bagrov remembers it.

Books are important not only because they carry information, but because they develop a boy’s imagination, the inquisitiveness of his mind, emotional memory, cause “great pleasure and admiration,” teach him to fantasize: without understanding what the figures in the drawings mean, Seryozha invents their meaning for the sister.

Seryozha experiences many - both tragic and joyful - family events. Together with his parents, he mourns the death of his grandfather and grandmother and rejoices at the birth of his younger brother. And Seryozha learns about historical events from the conversations of adults and perceives them in his own way. Thus, the death of Catherine II and the accession to the throne of Paul I are experienced in a childish way: Seryozha is offended that children are not sworn in, tries to understand the rumors that “now the Gatchina people will go uphill”; notices the new cut of the frock coats and dresses of the wives of civil servants, because he sees what kind of jacket with embroidery, like on his father’s uniform, his mother wears over the dress, and what his father is wearing.

The mental maturity that has outstripped his age has developed in Seryozha the habit of analyzing his own feelings and thoughts. He not only lives on impressions. He makes them the subject of analysis, looking for appropriate interpretations and concepts for them and fixing them in his memory. When the hero of the story fails to do this, Bagrov, matured and remembering, comes to the rescue. And throughout the book we hear two voices.

The narrative in “Childhood Years” stops on the eve of the beginning of the new age stage, when childhood ends and further “most important events in life” begin...” The image of a growing, mature person with his own eventful and spiritual-emotional world, constantly and qualitatively changing, is the main pathos of the book “Childhood Years” Bagrova-grandson."

The story of childhood as an original phenomenon of literature continues its development at the end of the 19th century and at the beginning of the 20th century in the works of writers of various directions who turned to the tradition of L.N. Tolstoy and S.T. Aksakova. This is N.G. Garin-Mikhailovsky (“Childhood of Theme,” 1892), M. Gorky (“Childhood,” 1913–1914), A. Bely (“Kotik Letaev,” 1914–1915), A.N. Tolstoy (“Nikita’s Childhood”, 1922), P.S. Romanov (“Childhood”, 1926), I.A. Bunin (“The Life of Arsenyev”, 1930), I.S. Shmelev (“Summer of the Lord,” 1927–1948).

The theme of childhood in the works of M. Gorky. The writer's stories for children were published even before the revolution. In 1913-1916, Gorky worked on stories "Childhood" And "In people", who continued the tradition of autobiographical prose about childhood. In the writer’s stories, children often find themselves unhappy, offended, and sometimes even die, like, for example, Lenka from the story "Grandfather Arkhip and Lenka"(1894). A couple of beggars - a boy and his grandfather - in their wanderings in the south of Russia meet sometimes with human sympathy, sometimes with indifference and anger.

“He lived a boring and difficult life,” says the writer about Mishka, the hero of the story "Shake"(1898). An apprentice in an icon-painting workshop, he does a lot of different things and gets beaten for the slightest mistake. But despite the heaviness of everyday life, the boy is drawn to beauty and perfection. Having seen a clown in the circus, he tries to convey his admiration to everyone around him - the masters, the cook. It ends disastrously: carried away by imitating the clown, Mishka accidentally smears the paint on the still damp icon; he is severely beaten. When he, groaning, clutching his head, fell at the master’s feet and heard the laughter of those around him, this laughter “cut Mishka’s soul” stronger than the physical “shake.” The boy’s spiritual rise is shattered by human misunderstanding, anger and indifference caused by the monotony and gray everyday life. Beaten, in a dream he sees himself in a clown costume: “Full of admiration for his dexterity, cheerful and proud, he jumped high into the air and, accompanied by a roar of approval, smoothly flew somewhere, flew with a sweet sinking heart ..." But life is cruel, and tomorrow he will have to "wake up again on the ground from a kick."

The light that comes from childhood, the lessons that children give to adults, children's spontaneity, spiritual generosity, disinterestedness (although they often have to earn a living themselves) - this is what M. Gorky's stories about children are filled with.

Fairy tales. Gorky "Tales of Italy"(1906-1913) have this name conventionally: these are stories about the country in which he spent many years. But he also has true tales. The first of them were intended for the collection "Blue Book"(1912), addressed to young children. Included in the collection of fairy tales "Sparrow" and the other - "The Case of Evseyka"- turned out to be too old for this collection. It appeared that same year in a supplement to the newspaper Den. These fairy tales feature wonderful animals that can talk, without which the fairy-tale world could not exist.

Sparrow. Pudik did not yet know how to fly, but he was already looking out of the nest with curiosity: “I wanted to quickly find out what God’s world is and whether it is suitable for him.” Pudik is very inquisitive, he still wants to understand: why the trees sway (let them stop - then there will be no wind); why are these people wingless - did the cat cut off their wings?.. Because of his excessive curiosity, Pudik gets into trouble - he falls out of the nest; and the cat “red, green eyes” is right there. There is a battle between the mother sparrow and the red-haired robber. Pudik even took off from fear for the first time in his life... Everything ended well, “if you forget about the fact that mom was left without a tail.”

In the image of Pudik, the character of a child is clearly visible - spontaneous, disobedient, playful. Gentle humor and discreet colors create the warm and kind world of this fairy tale. The language is clear, simple, and understandable to children.

The character of the hero in the fairy tale " The case of Evseyka" is more complicated, because the hero is older than Pudik in age. The underwater world where the boy Evseyka finds himself is inhabited by creatures who have difficult relationships with each other.

The underwater inhabitants are trying to drag Yevseyka into their relationship. He stubbornly resists: they are fish, and he is a man. He has to be cunning so as not to offend someone with an awkward word and not get himself into trouble. Evseika's real life is intertwined with fantasy. “Fools,” he mentally addresses the fish. “I got two B’s in Russian last year.” Towards the end, the action of the fairy tale moves through a chain of funny situations and witty dialogues. In the end, it turns out that Evseyka dreamed of all these wonderful events when he, sitting with a fishing rod on the seashore, fell asleep. This is how Gorky solved the traditional problem of the interaction between fiction and reality in literary fairy tales. In “The Case of Evseyka” there are many light, witty poems that children readily remember.

There are even more of them in the fairy tale "Samovar", which the writer included in the first book he compiled and edited for children - "Christmas tree"(1918). This collection is part of the writer’s big plan to create a library of children’s literature. The collection was intended to be a fun book. “More humor, even satire,” Gorky admonished the authors. Chukovsky recalled: “Gorky’s own fairy tale “Samovar,” placed at the beginning of the entire book, is precisely a satire for children, denouncing self-praise and conceit. "Samovar" - prose interspersed with poetry. At first he wanted to call it “About the samovar who became arrogant,” but then he said: “I don’t want there to be a sermon instead of a fairy tale!” - and changed the title."

The tale has been republished many times. It reflected M. Gorky’s views on folk tales as an inexhaustible source of optimism and humor, to which children must be involved, as well as his approach to the literary treatment of folklore.

The plot is based on the story by M. Gorky "Childhood" facts of the writer's real biography. This determined the features of the genre of Gorky’s work - an autobiographical story. In 1913, M. Gorky wrote the first part of his autobiographical trilogy “Childhood,” where he described the events associated with the growing up of a little man. In 1916, the second part of the trilogy “In People” was written, it reveals the hard work life, and a few years later in 1922, M. Gorky, finishing the story about the development of man, published the third part of the trilogy - “My Universities”.

I. Shmelev- a talented writer of Russian diaspora, famous for such works as “The Man from the Restaurant,” “Pilgrim,” and “The Summer of the Lord.” The last of them was written by the author in France, where, at the invitation of Bunin, the writer and his wife went abroad in 1922 after the execution of their son by security officers. He lived first in Germany, then in France. He died in 1950 from a heart attack and was buried in the Russian cemetery in Sainte-Genevieve-des-Bois.

“The Summer of the Lord” is a work of memoir-biographical genre. The writer narrates “From the distance of years about childhood, Moscow, Russia.” The critic V. Kurbatov believes that Shmelev “guessed to escape from loneliness and exile by returning to the flesh of childhood,” therefore, for him, childhood memories are both a connection with a lost homeland, and a longing for the bygone way of life of pre-revolutionary Russia, customs, traditions, and the memory of dear ones and close people, and, perhaps, the hope of seeing our native land, land, people again. The story is divided into three parts: “Holidays”, “Joys”, “Sorrows”.

Shmelev follows the tradition of Russian literature, those of its writers who spoke about their childhood experiences, believing that they are the basis of spiritual growth. These are works such as “Childhood of Bagrov the Grandson”, “Childhood of Tema”-Mikhailovsky, “Childhood”, “Life of Arsenyev” by I. Bunin, “Childhood” by M. Gorky.

This thought turns the memory to I.S. Shmelev’s novel “The Summer of the Lord.” The writer himself recalled: “The early years gave me many impressions. I received them in the yard. People of every caliber and every social status appeared in our house.<…>There were a lot of words in our yard - all kinds. This was the first book I read - a book of living, lively and colorful words.<…>Here I felt love and respect for this people who could do anything.”

The question of the cost of social transformations (raised by writers of the 19th century) arises throughout Shmelev’s work. The loss of God in the souls of people is what frightens the author of the novel “The Summer of the Lord.” And the theme of childhood for him is a way out of a state of disbelief. She helps the writer come back to faith, to God.

Everything that is told in Shmelev’s autobiographical cycle (the novels “Bogomolye”, “Summer of the Lord” and the collection “Native”) is seen through the eyes of a seven-year-old boy Vanya, but behind him stands the writer Ivan Shmelev, who has already walked the path that his hero has yet to to come. Hence the combination of the power of artistic depiction (brightness, colorfulness, “material tangibility” of reality - after all, a child is almost devoid of reflection, all his attention is directed to the world around him) with the depth of philosophical understanding of what is depicted.

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