Story by L.N. Andreev’s “Petka at the Dacha” was first published in the “Magazine for Everyone” in 1899. It was based on the story of the writer’s namesake Ivan Andreev. He was considered the most fashionable hairdresser in Moscow. The story belongs to highly social works and is often compared in criticism with the work of A.P., which is similar in plot and issues. Chekhov's "Vanka". At the center of the story “Petka at the Dacha” is the fate of a child from a poor family who is sent as an apprentice to a hairdresser and does the most difficult and dirty work.
Drawing a portrait of the hero, L.H. Andreev shows the life of a child and how the environment affects the boy. Petka is losing weight and has bad scabs and fine wrinkles. L.H. Andreev writes that the boy becomes like an aged dwarf: “... a passer-by saw a small, thin figure hunched over in the corner on his chair, immersed either in thoughts or in a heavy sleep. Petka slept a lot, but for some reason he still wanted to sleep, and it often seemed that everything around him was not true, but a long, unpleasant dream. He often spilled water or did not hear a sharp cry: “Boy, water,” and he kept losing weight, and bad scabs appeared on his shorn head. Even undemanding visitors looked with disgust at this thin, freckled boy, whose eyes were always sleepy, his mouth half-open and his hands and neck dirty. Near his eyes and under his nose, thin wrinkles appeared, as if drawn with a sharp needle, and made him look like an aged dwarf.”
Later, the author draws another portrait, when Petka was traveling out of town: “Petka’s eyes have long ceased to look sleepy, and the wrinkles have disappeared. It’s as if someone ran a hot iron over this face, smoothed out the wrinkles and made it white and shiny.”
The portrait of the boy changes as events unfold, and at the end of the story, L.N. Andreev again conveys the image of Petka: “A second-hand school jacket enveloped his thin body, and the tip of a white paper collar stuck out from behind its collar. Petka did not fidget and hardly looked out the window, but sat so quiet and modest, and his little hands were folded gracefully on his knees. The eyes were sleepy and apathetic, thin wrinkles, like those of an old man, huddled around the eyes and under the nose.”
Among the external characteristics, the author also uses a description of the hero’s behavior and a description of the subject situation. The boy's behavior, like his portrait, changes with the change in the situation. In the city, the author describes Petka’s behavior: “Petka didn’t know whether he was bored or happy, but he wanted to go to another place, about which he could not say anything, where it was and what it was like. When his mother, the cook Nadezhda, visited him, he lazily ate the sweets brought, did not complain and only asked to be taken from here." "And in the morning, and in the evening, and all day long, the same abrupt cry hung over Petka: “Boy, water.” , - and he kept giving it, still giving it.” The boy's behavior changes significantly when he finds himself at the dacha. Petka seems to come to life, fishes with the schoolboy, admires nature, everything for him is of interest and pleasure.
The author describes the environment in which the boy lives and in which his childhood takes place - the quarter where she is located is filled with houses of cheap debauchery. There are constant fights, bad words, and drunkenness.
L.N. Andreev very vividly depicts the boy’s state at the end of the story, when Petka finds out that he will have to return to the city: “But Petka didn’t even think of crying and didn’t understand everything. On the one hand there was the fact of the fishing rod, on the other the ghost - Osip Abramovich. But gradually Petkina’s thoughts began to clear up, and a strange transition occurred: Osip Abramovich became a fact, and the fishing rod, which had not yet had time to dry, turned into a ghost. And then Petka surprised his mother, upset the lady and master, and would have been surprised himself if he had been capable of introspection: he didn’t just cry, like city children cry, thin and exhausted, he screamed louder than the loudest man and began to roll on the ground, like those drunk women on the boulevard. His thin little hand clenched into a fist and hit his mother’s hand, the ground, anything, feeling the pain from sharp pebbles and grains of sand, but as if trying to intensify it even more.”
The reader can see the world through the eyes of the hero: “He was afraid of the forest, which quietly rustled above his head and was dark, brooding and so terrible in its infinity; the clearings, bright, green, cheerful, as if singing with all their bright flowers, he loved and would like to caress them like sisters, and the dark blue sky called him to itself and laughed like a mother. Petka was worried, shuddered and turned pale, smiled at something and sedately, like an old man, walked along the edge of the forest and the wooded bank of the pond.”
There is also another child in the story - Nikolka. This is how we learn about the boy’s life: “Another boy, Nikolka, was three years old and would soon become an apprentice. Even now, when a simpler visitor dropped into the barber shop, and the apprentices, in the absence of the owner, were too lazy to work, they sent Nikolka to cut his hair and laughed that he had to stand on tiptoe to see the hairy back of the head of the hefty janitor. Sometimes a visitor would be offended because his hair was ruined and start screaming, then the apprentices would shout at Nikolka, but not seriously, but only for the pleasure of the short-haired simpleton. But such cases were rare, and Nikolka put on airs and carried himself like a big man: he smoked cigarettes, spat through his teeth, cursed in bad words and even boasted to Petka that he drank vodka, but he was probably lying. Together with his apprentices, he ran to the next street to watch a big fight, and when he returned from there, happy and laughing, Osip Abramovich gave him two slaps in the face: one on each cheek.”
The author shows what this trip out of town meant for Petka, this is the only bright memory of the boy’s childhood. Petka remembers this for a long time and shares his impressions with Nikolka: “And at night, in the place where Nikolka and Petka slept next to each other, a quiet voice rang and worried, and talked about the dacha, and talked about what does not happen, what no one never seen or heard of it. In the ensuing silence, the uneven breathing of children’s breasts could be heard, and another voice, not childishly rough and energetic, said:
Damn it! Let them climb out!
Who the hell?
Yes, that’s it... That’s it.”
L.N. Andreev in his work reveals the life of not only the main character of the story. Petka's life can be considered a typical life for children from poor families of that time. It is no coincidence that the story depicts the figure of another boy - Nikolka. With his story L.N. Andreev seeks to attract the attention of the progressive public to the situation of children in capitalist society. And the author creates the image of a child using a description of behavior, and in some cases the description of the hero’s behavior can be attributed to an external characteristic, and in some to an internal one. Sometimes behavior reveals the hero's inner state. The author also uses portrait characteristics. The portrait of a boy in the story is dynamic, it changes with the change in the situation surrounding the child.
A description of the subject situation is used, which helps to create the image of Petka.
teacher of the highest qualification category.
Literary reading lesson in 4th grade
Place of work: Municipal budget
educational institution
"Gymnasium No. 3 of the city of Zelenodolsk
Topic: Two worlds in L. Andreev’s story “Petka at the Dacha”
(Second lesson on the topic. In the first lesson, children learned about the author, read the work, and did vocabulary work).
Target: compare two worlds: the living, shining world of the dacha and the “dead” world of the hairdresser; see the rebirth of the hero under the influence of new vivid impressions and experiences. Learn to draw conclusions about the character of the hero based on actions and emotional manifestations. To instill in children a sense of compassion, empathy for people, to teach them how to find a way out of difficult life situations.
Equipment: children's drawings based on the work, cards, tape recorder, mirror, basket with vegetables and fruits.
During the lesson, students develop the following universal learning actions:
Personal: teach to trace the fate of a literary hero and navigate his personal experiences, to form a person’s sense of responsibility for himself and loved ones, a feeling of love, attention, care, compassion, empathy.
Regulatory: be aware of the stages of educational work, make the necessary adjustments to one’s activities depending on its results, construct statements taking into account the educational task, independently work with a book and highlight the necessary information, take initiative when answering questions and completing assignments.
Cognitive: adequately perceive a literary text, summarize information, draw conclusions, make comparisons on given textual material, select, systematize and record the necessary information, build logical reasoning, including establishing cause-and-effect relationships.
Communicative: express your feelings in oral speech, build monologues and participate in dialogue, taking into account the position of your interlocutors, the mood of other people, show empathy for the hero of a literary work, take part in the work of a group, express your opinion about the phenomena of life reflected in the text.
Subject results: read text at a speed that allows you to understand the meaning of what you read; retell the text briefly and in detail, draw up an outline of the text and use it, answer questions about the content of the text, correlate impressions with your life experience, independently find in the text simple means of depicting and expressing the hero’s feelings, express your opinion about the hero and his actions, highlight the main idea and main problems of the work.
During the classes:
1. Organizational moment. Introduction to the topic.
On the table there is a basket with fruits and vegetables and a mirror.
U: Guys, what did the objects that you see in front of you remind you of? What work are they associated with?
D: - A basket with fruits and vegetables reminds of summer, of relaxing in the country
These items are related to the work “Petka at the Dacha,” or rather, the mirror reminded of Petka’s life in the hairdresser’s, and the fruit basket reminded him of his life at the dacha.
Looking at these objects, we can say that during the lesson we will talk about Leonid Andreev’s work “Petka in the Dacha”
2. Updating knowledge.
W: Who is this story about? Restore the chain of events from the drawings. Make a picture plan.
Children's drawings are placed on the board, from which children choose those suitable for drawing up a picture plan, justifying their choice and drawing up a story plan:
1.Life in a hairdresser.
2. Petka on the train
3.Petka at the dacha.
4. Return to the city
Children conclude: in order to show Petka’s inner state, the author uses different colors - the world of the hairdressing salon seems gray and boring, monotonous, and the drawings representing the world of the dacha are bright, filled with a variety of colors.
3. Comparative analysis of the world of the hairdressing salon and the world of the dacha.
U: Two worlds appear before us: the world of the hairdresser and the world of the dacha. How do you see them?
Work is underway in pairs - compiling a description of the world of the dacha and the world of the hairdresser using adjectives
WORLD OF HAIRDRESSING WORLD OF DACHI
Primitive Bright
Monotonous Amazing
Boring Light
Cold Delicious
Gloomy Live
Indifferent Happy
Joyless Shining
Ruthless New
Horrible Interesting
Also, so that we can better understand how bad Petka was at the hairdresser, and how good he felt at the dacha.
4. Drawing up a portrait of Petka.
U: How did you imagine Petka? To answer the question, I suggest working in groups.
Using suitable passages from the text, compose a portrait of the main character.
1 group. Petka in the hairdresser.
2nd group. Petka on the train.
3rd group. Petka at the dacha.
4 group. Return of Petka.
Results of the groups' work:
Petka in the hairdresser:“A thin, freckled boy, sleepy eyes, a half-open mouth, dirty hands, scabs on his shorn head, small wrinkles around the eyes and under the nose. He looks like an aged dwarf. Sleepy, tired, sad, he wants to go somewhere else, away from the hairdresser, but he doesn’t know where yet. He misses his mother, but cannot express his feelings when meeting her.”
Petka on the train:“Petka stuck to the window, and only his shorn head was spinning on a thin neck, as if on a metal rod. Petka’s eyes have long ceased to look sleepy, and the wrinkles have disappeared. It was as if someone had passed a hot iron over this face, smoothed out the wrinkles and made it white and shiny. He felt that his life would change for the better. He was both happy and anxious, because he didn’t know what awaited him at the dacha, but he felt that it was better there than in the hairdresser.”
Petka at the dacha:“Cheerful, delighted with the world of the dacha. He began to look better, he felt better because his mother was nearby, he gained weight and began to look like a full-fledged person. Petka felt at home at the dacha and completely forgot that the hairdresser and Osip Abramovich existed. He truly felt the taste of childhood and found a friend. He was happy".
Return of Petka:“A second-hand school jacket hugged his thin body. Petka no longer fidgeted, but sat quietly. His eyes were sleepy and apathetic. The fine wrinkles were like those of an old man. Petka did not want to return to the terrible hairdresser. He knew that no one liked him there. He had no friends or relatives there with whom he could talk. He was very upset."
W: Are your portraits similar? Why not? After all, this is the same person.
Why are these changes happening?
D: - These changes occur to a person because his mood changes, if he is sad, then both his appearance and behavior change.
If a person has grief or trouble, then you can guess about it from his face, from his eyes.
The biggest changes occur with Petka at the dacha. He sees the world in bright colors, its appearance changes, and every day is filled with joyful experiences. It's like he's rediscovering the world.
He realizes that this is exactly the place where he so dreamed of getting to in the city. It's like a fairy tale, but with a sad ending, like a dream that has ended. Petka will have to return to the hairdresser, but he doesn’t want that.
W: Which picture do you think is more terrible: the sight of a ten-year-old boy, whose eyes are apathetic and sleepy, and his face is covered with wrinkles like that of an old man, or the sight of the same boy who “screamed louder than the loudest man and began to roll on the ground”?
D: - It’s scary when Petka starts screaming loudly, but he screams and rolls on the ground so that adults understand that he feels bad in the hairdresser.
But I think it’s scarier when he is silent and keeps all the pain inside. He should have talked to his mother and the owners, maybe something would have changed. When you talk about your problem, it immediately becomes easier.
U: Indeed, it is much more scary to see a ten-year-old boy with indifferent eyes who has already lost interest in life. But his life is just beginning.
W: Do you think the dacha ruined Petka’s life or gave birth to a spark of hope in him?
D: - I think that there is still hope for the best. After all, when leaving, Petka asked his mother to hide the fishing rod. He hoped to return someday. He will wait for this return, dream about it.
I want to add that the memories of the time spent at the dacha will help him survive in the hairdresser.
5. Summary.
W: What mood does the story create overall? Is it possible to help the hero?
D: - I’m very sorry for the boy who had such a difficult childhood away from his mother, without friends.
I think you should always hope for the best. And the author suggests this to us by calling his mother Nadezhda. I think that she is the one who can change Petkin’s life for the better. If she is nearby, it will be much easier for Petka. And he will become different.
I agree. Mom is the most important person in life. I always consult with her. And I would advise Petka to talk to his mother. Only she can change his life.
6. Homework. Write an essay-reasoning “How can you help Petka”
Composition
The story belongs to highly social works and is often compared in criticism with the work of A.P., which is similar in plot and issues. Chekhov's "Vanka". At the center of the story “Petka at the Dacha” is the fate of a child from a poor family, sent as an apprentice to a hairdresser and doing the most difficult and dirty work. Andreev emphasizes the menacing look that hairdresser Osip Abramovich casts at the boy. At times he whispers threats foreshadowing punishment.
The story has a ring composition. Its action begins and ends with approximately the same scene in the hairdresser's. Moreover, the quarter where it is located is filled with houses of cheap debauchery. There are constant fights, bad words, and drunkenness. And against the backdrop of this seamy side of life, the hero of the story spends his childhood in constant work. The writer does not skimp on artistic details depicting the vulgarity of the surrounding environment. These are the indifferent faces of dirty and strangely dressed visitors, and a picture covered with flies on the wall of a hairdressing salon, and pictures of drunken massacres disgusting in their cruelty.
The horror of the situation emphasizes its hopeless monotony. All days are alike, like siblings. They are even more depersonalized by the same cry: “Boy, water.” There are no holidays. Drawing a portrait of the hero, L.N. Andreev shows how such a hopeless life dries up a child’s soul. Petka is losing weight and has bad scabs and fine wrinkles. L.N. Andreev writes that the boy becomes like an aged dwarf.
One day, the owner lets Petka go stay at the dacha, where his mother serves as a cook, and he seems to find himself in heaven: relaxing, swimming, exploring with interest the ruins of an ancient palace. Outside the city, Petka sees for the first time a clear and wide sky, white joyful clouds that look like angels. This sky becomes a certain symbol of happiness, freedom, peace, the breadth of the world, open to the inquisitive gaze of a child. L.N. Andreev emphasizes how organic this world is for a child’s consciousness. The boy, who had never been to a dacha before, becomes so accustomed to his surroundings in two days that he forgets that Osip Abramovich and his hairdresser exist in the world. But the happiness suddenly ends: the boy is ordered to return to his boring, exhausting duties. The reader is faced with the true tragedy of a child who was deprived of his childhood. Petka reacts to the current situation like a boy: he screams and cries. But soon the hero calms down and dutifully returns to his duties. The master and lady sincerely feel sorry for the boy, but instead of real help, they only remember that someone in this world is living even worse now. Then, with a clear conscience, they go to the dance to have fun.
With his story L.N. Andreev seeks to attract the attention of the progressive public to the situation of children in capitalist society. After all, true humanism does not consist in pitying a child, but in helping him. Such real help is provided to the boy Sashka from the story “Angel” by the Svechnikovs, who pay for his education at the gymnasium. However, the strength of the artistic exposure of cruel capitalist mores in the work is such that the conclusion suggests itself that it is possible to change the position of children in society only at the state level. Individual philanthropists will not solve the situation radically.
Petka's fate can be considered typical for that time of the fate of a child from a poor family. It is no coincidence that the story depicts the figure of another boy - Nikolka, who is three years older than Petka. Listening to the dirty stories that Nikolka tells about visitors, Petka thinks that someday she will be the same as Nikolka. “But for now he would like to go somewhere else,” emphasizes L.N. Andreev.
The theme of childhood in L. Andreev’s story “Petka at the Dacha”
Chekalov P.K.
Nevinnomyssk Institute of Economics, Management and Law, Nevinnomyssk, Russia
e-mail: Chekalov58@
On April 5, 1898, on the pages of the newspaper “Courier” M. Gorky saw L. Andreev’s story “Bargamot and Garaska”, which made a great impression on him, after which he asked the author for a good story for the then popular St. Petersburg “Magazine for Everyone” " Andreev responded to Gorky’s request with the story “Petka at the Dacha,” which was published in the same magazine the following year, 1899.
The main character of the story is a ten-year-old boy Petka, who works as a servant in a hairdressing salon. Even before meeting him, through the eyes of a visitor we see his “thin, small hand, which from somewhere on the side reached out to the mirror-glass and placed a tin of hot water.” A little lower, the author reproduces the portrait of the boy in more detail: “On his shorn head, bad scabs appeared. Even undemanding visitors looked with disgust at this thin, freckled boy, whose eyes were always sleepy, his mouth half-open and his hands and neck dirty. Near his eyes and under his nose, thin wrinkles appeared, as if drawn with a sharp needle, and made him look like an aged dwarf.”
Let us pay attention to the unsightly and even repulsive portrait of the hero. It would seem that a ten-year-old boy should be the embodiment of liveliness, playfulness and restlessness, but instead we see an indifferent and apathetic hunched creature, constantly immersed in slumber, whose appearance rather resembles an aged dwarf with fine wrinkles etched on his face.
We learn that Petka was the smallest of all the employees in the hairdressing salon, who silently endured the constant shouts: “And in the morning, and in the evening, and all day long, the same abrupt cry hung over Petka: “Boy, water,” and he still I served it, I served everything.” The repetition of “everything fed it, kept feeding it” speaks of the endlessly repeated mechanical execution of the same functions. And therefore it is no coincidence that Petka’s days dragged on surprisingly monotonously and similar to one another, like two siblings; he slept a lot, but for some reason he still wanted to sleep. There were no holidays, nothing happened in life that could somehow brighten up the slow, dull passage of time.
The monotony of the boy’s life is emphasized by the monotony of the world around him, in particular, the interior decoration of the hairdressing salon: “Both in winter and summer (...) all the same mirrors, one of which had a crack, and the other was crooked and funny. On the stained wall hung the same picture, depicting two naked women on the seashore, and only their pink bodies became more and more motley from the traces of flies, and the black soot increased over the place where in winter almost the entire The kerosene lightning lamp was burning all day.”
A crack, something crooked and funny, a stained wall, fly tracks, black soot, a dirty sheet, a dull razor, an unpleasant creak, hard stubble, a boring smell, cheap perfume, annoying flies, dirt - this is the vocabulary that expressively characterizes the reality in which it lives hero. But the writer expands the world surrounding the hero by describing the nearest block and boulevard, the characteristic features of which are houses of cheap debauchery, trees gray with dust, dirty and strangely dressed men and women, indifferent, angry, dissolute faces, harsh voices, swearing, drunkenness , beating by a drunk man of the same drunk woman...
The language of this description is so eloquent that it eliminates the need for additional comment.
What kind of joyful, happy creature can grow up against such a gloomy, mercilessly cruel social landscape? It cannot exist even theoretically, but in practice it is very possible to give birth to such a creature. In this sense, the portrait of Nikolka, Petka’s older (by three years) comrade, who was already “strutting and carrying himself like a big man: smoking cigarettes, spitting through his teeth, swearing in bad words and even boasting to Petka that he drank vodka” is very characteristic " From time to time he would run to the next street to watch a big fight and always came back happy and laughing. For a thirteen-year-old boy, such an ugly scene is entertainment, a happy opportunity to diversify the uninteresting course of life. And such an inverted, ugly perception of life’s phenomena is characteristic not only of Nikolka, but of the entire adult population: their faces became more meaningful and lively only when they watched a fight.
It becomes clear: this world is not for children. The connection between the outside world and Petka’s complete apathy is direct: the surrounding reality, with its vulgarity, dirt, and lack of spirituality, kills in a little person any living manifestations characteristic of an ordinary child. A detailed description of the scene of action provides an explanation of the state in which the character was constantly: “Petka did not know whether he was bored or happy, but he wanted to go to another place, about which he could not say anything, where it was and what it was like.” The story repeatedly emphasizes that “he would like to go somewhere else... He would really like to.”
The plot of the story is the scene when one day the mother arrived, talked with Osip Abramovich and told Petka that he was being released to the dacha in Tsaritsyno, where her gentlemen lived. It is characteristic that the hero did not know what a dacha was, but believed that it was the very place where he was so eager. And so his face became covered with thin wrinkles from quiet laughter, and he began to hurry Nadezhda, tugging at her hand and quietly pushing her towards the door. We notice how eager he is to leave the barbershop. This is the beginning of the hero's transformation. For the first time, traits common to all children begin to appear in him. And then, with the development of the action, the “aged dwarf” will turn into an ordinary child: interest in everything new that he sees and observes awakens in him, drowsiness and apathy disappear, traits of spontaneity and restlessness appear. To be convinced of this, it is enough to follow the behavior of the hero when he and his mother found themselves in the carriage: “Petka stuck to the window, and only his shorn head was spinning on his thin neck, as if on a metal rod. He was born and raised in the city, he was in the field for the first time in his life, and everything here was amazingly new and strange for him: what can be seen so far away that the forest seems like grass, and the sky that was in this new world was amazing. - absolutely clear and wide, as if you were looking from the roof. Petka saw him from his side, and when he turned to his mother, the same sky was blue in the opposite window, and little white joyful clouds floated across it, like little angels.”
Let us pay attention to how the vocabulary of the narrative changes dramatically, it acquires fresh, bright colors, diminutive forms and light, joyful tones appear. And then these pictures will be complemented by a toy white church, the mirror surface of the river, the swaying reflections of trees in the water, young rowan and birch trees, rough and gentle earth, silence... The new world around him immediately leaves its mark on the boy’s appearance: “Petkina’s eyes have long ceased to appear sleepy, and the wrinkles disappeared. It’s as if someone ran a hot iron over this face, smoothed out the wrinkles and made it white and shiny.” A little lower, a paradoxical phrase will be said about a ten-year-old boy: “amazingly rejuvenated”... From a world where everything made him old, he finds himself in the world of ordinary childhood. Here is a simple explanation of his transformation.
It is important to note Petka's perception of nature "snatched from the stone embraces of the city's bulks": we see in it the fullness of sensations, the highly emotional experience of encounters with forests, clearings, ponds, and the sky. It is also characteristic what associations these meetings gave rise to: he would like to caress the meadows like sisters, and the sky called him to itself and laughed like a mother. And with the naked eye, a kindred perception and attitude to natural phenomena is noticeable. We understand that it is this world that most fully corresponds to the inner needs of the hero, and therefore he so soon comes into full agreement with it. He and his high school student Mitya are fishing in the pond; pretends to swim, floundering in the water and raising his nose and eyebrows upward; rises to the roof of the palace overgrown with trees, wanders among the ruined walls of a huge building; runs barefoot on rough ground; goes to the dam to watch gentlemen boating; plays hopscotch, puffing out his cheeks; digs for worms, carves a fishing rod in a hazel tree...
Gradually, Petka felt at home at the dacha and completely forgot that Osip Abramovich and a hairdresser existed in the world. And so, when, after a week, his mother told him, “You need to go, son,” he sincerely did not understand where and why, because he had forgotten about the city, and another place where he always wanted to go had already been found. And he thought that this state of affairs would remain unshakable forever. And then follows a poignant scene of the little man gradually realizing the tragic inevitability of the end of the holiday: “Petka continued not to understand, although the matter was clear as daylight. But his mouth was dry and his tongue moved with difficulty when he asked:
How can we catch fish tomorrow? Fishing rod - here it is...
What can you do!.. Demands. (...) Don’t cry: look, he’ll let you go again - he’s kind, Osip Abramovich.
But Petka didn’t even think about crying and didn’t understand everything. On the one hand there was a fact - a fishing rod, on the other a ghost - Osip Abramovich. But gradually Petkina's thoughts began to clear up, and a strange shift took place: Osip Abramovich became a fact, and the fishing rod, which had not yet had time to dry, turned into a ghost. And then Petka surprised his mother, upset the lady and the gentleman, and would have been surprised himself if he had been capable of introspection: he didn’t just cry, as thin and emaciated city children cry, he screamed louder than the loudest peasant and began to roll on the ground, like those drunk women on the boulevard. His thin hand clenched into a fist and beat on his mother’s hand, on the ground, on anything, feeling pain from sharp pebbles and grains of sand, but as if trying to intensify it even more.
This climactic scene is striking both in the skill with which it is executed, and in the depth of penetration into the psychology of the child, and in the direct reflection of the boy's reaction to the terrible news for him. Here the conflict of the work is exposed: the boy lived in a strange, stupefying world without realizing it, and therefore, even apathetically, but still painlessly endured it; now he is forced to return after he has learned about the existence of another world that fully corresponds to his spiritual and physical needs. It becomes clear that now it will be simply unbearable for Petka to live his former life. This tragedy of the child is not understood by either the mother or the gentlemen, who in the evening, going to Dipman's garden for dancing, discuss what happened: "You see, it has stopped, - children's grief will not last long."
The next day, when Petka returned to the city, he “did not turn around and hardly looked out the window, but sat so quiet and modest, and his little hands were folded neatly on his knees. The eyes were drowsy and lethargic, fine wrinkles, like those of an old man, huddled around the eyes and under the nose. The boy has become isolated and has become the old aged dwarf, because he is returning to the former world. And when they came out into the roaring street, "the big greedy city indifferently swallowed up its little victim." This little phrase clearly expresses the writer's philosophy: the dirty and vulgar city of his day, like a monster, if not literally devours, then irreparably cripples the child's soul.
And then everything repeats from the beginning: “And again, in the dirty and stuffy barbershop, the abrupt sound was heard:“ Boy, water ”, and the visitor saw how a small dirty hand was stretched out to the under-mirror room, and heard a vaguely threatening whisper: “Wait a minute!” ...
An interesting observation: on the first four pages of the story, which tells about the life of a boy in the city, the word “dirt” and its derivatives are used 6 times; this word completely disappears from the pages where dacha life is described, but then appears 2 more times on the final half-page. Thus, using purely lexical means, the writer emphasizes the hero’s return to the old, unchanged, monotonous, dirty and suffocating world.
“And at night, in the place where Nikolka and Petka slept next to each other, a quiet voice rang and worried, and talked about the dacha, and talked about what does not happen, what no one has ever seen or heard”...
In essence, there was nothing unprecedented or unprecedented in Petka’s week-long stay at the dacha, there was the ordinary life of an ordinary boy: swimming, fishing, climbing through the ruins of the palace... But the whole point is that the heroes of the story are deprived of these very ordinary childhood joys . Petka and Nikolka live in such a wild, barbaric world where the ordinary phenomena of children's life are perceived by them as something unprecedented and fantastic. At the end of the story, there is a vague awareness of such a blatantly unfair state of affairs: “In the ensuing silence, the uneven breathing of children’s breasts could be heard, and another voice, not childishly rude and energetic, said:
Damn it! Let them climb out!
Who the hell?
Yes, that’s it... That’s it.”
These words from Nikolka express a threat to the one who arranged the children’s lives so absurdly. He still doesn’t understand who is to blame for the fact that his life has turned out this way, but he already vaguely realizes that someone is still to blame.
The story ends with the initial motif of a distant plaintive cry coming from the boulevard: “there a drunken man beat an equally drunk woman.” The compositional circle of the work closes, emphasizing the doom of the children: they cannot get out of this circle of life. The only happy occasion, unfortunately, did not turn into a happy opportunity to change life for the better.
The idea of the story lies in the idea that society is guilty of children deprived of childhood, and is responsible for the principles, attitudes, and worldview with which they enter adulthood. And so that the future of humanity does not cause anxiety, it is necessary, at a minimum, to return to children what they cannot fully exist without: an ordinary childhood with ordinary childhood joys.
Lexico-semantic method of nominating persons
(using the example of Russian and English languages)
Chekmasova T.E.
Voronezh State Forestry Academy, Russia
(Faculty of Economics, 4th year)
Scientific hand: E.A. Maklakova PhD in Philology , assistant professor
As you know, polysemy reflects the asymmetry of a linguistic sign by fixing the entire unlimited human experience with limited linguistic means, when several meanings are assigned to one sound complex. It should be noted that the majority of Russian names of persons are predominantly identifying signs, which are characterized by multifunctionality and ambiguity, which must be taken into account when selecting their translations in English, for example:
academician – 1. full member of the Academy of Sciences. 2. the title of a scientist, artist, sculptor elected to the relevant academy. 3. about a person who knows a lot, is well versed in something;
artist - 1. a person who creates works of fine art with paints, pencil, etc., a painter. 2. the one who creates works of art works creatively in the field of art. 3. one who has achieved high perfection in any work, who has shown great taste and skill in anything;
agent – 1. a representative of an organization performing official assignments. 2. a person who is a protege of someone, serving someone else's interests. 3. secret intelligence officer of any state; spy.
commissioner - 1. an official vested with special or significant powers by the government. 2. in the USSR: a person responsible for political and educational work in a student construction brigade. 3. in European countries and in Russia in the 18-19 centuries: an official performing police functions;
despot - 1. in the slave monarchies of the Ancient East: the supreme ruler who enjoyed unlimited power. 2. an autocratic person who tramples on other people’s desires and will; tyrant
Quite often, in the process of functioning in speech, a word exhibits its inherent ability for polysemy, which helps to increase the quantitative composition of units of the language corpus under study. The semantic structure of the following lexeme, according to an analysis of its frequency in modern contexts, does not always include the seme “coming by birth from a particular social environment, class,” which perhaps indicates the expansion of polysemy and the emergence of a new third meaning, for example:
value 1 - a male person who moved from another country or region), “It is interesting that Potemkin comes from Georgia, his Georgian wife, Manana, his youngest daughter is the youngest taxpayer in Russia.” (Sergey Esin. Selected passages from the diary of 2001 // “Our Contemporary”, 2003), English translation equivalents: emigrant, immigrant;
meaning 2 - a male person, coming by birth from one or another social environment, class), “Petersburg gardener Efim Andreevich Grachev, a native of Yaroslavl peasants, received 60 medals at various exhibitions in Russia and abroad for the best varieties of potatoes.” (L.I. Shustova. Travel through the country of Agros // "Biology", 2003), there are no English translation correspondences;
value 3 – a male person engaged in activities in any area of industrial or public life), “In the Krasnoyarsk Territory, the governor comes from big business: is it easier to work with such governors? (Alexander Popov. “Terrorist attacks are less negative for business than changing the power system” // “Continent of Siberia” (Novosibirsk), 2004.12.17]; “Coming from the “special officers.” [Vyacheslav Morozov. FSB Admiral // “Our Contemporary ", 2004), there are no English translation matches.
Modern lexicology sees in the polysemy of words their ability for semantic variation, i.e. changing meaning depending on context. It is obvious that the differential and integral semes following the archiseme clarify and specify the structures of the semes of the same lexeme, and each of them has its own set of translation correspondences in the English language:
meaning 1 – male person, engaged in performing works of art professionally, in the presence of the public), English translation equivalents: artiste, artist, actor, principal, player, performer, protagonist, lead;
meaning 2 – male person, has achieved high skill in any field), English translation equivalents: artist, artisan, master;
meaning 3 – male person, pretends to be someone or something, hides true thoughts and feelings in hopes of making a favorable impression), English translation equivalent: artist.
The formation of names of persons by such lexical-semantic methods as metaphorical or metonymic transfer is characteristic of both languages. For example, the names bears and bulls, which originally appeared in stock exchange jargon to name players, gradually expanded their meaning and are currently registered in all special English dictionaries without any markings indicating the limitations of their use.
Most metaphorically reinterpreted English person names are the result of transfer by association. With this type of transfer, similar features are associated not with the concept of a certain phenomenon, but with ideas about it in a specific speech situation, with associations. The main lexical groups involved in the metaphorical formation of names of persons are:
1) names of animals, for example: loan shark (loan shark) - moneylender; fat cat (fat cat) – a wealthy businessman who thinks only about his own benefit; a white crow - white crow;
2) names of fictional creatures, for example: business angel (business angel) - a wealthy person who invests his own funds in a starting or expanding business; ghost (ghost, ghost) - a person registered as an employee, but who does not actually work and does not receive wages; a printer’s devil – an errand boy;
3) names of persons who initially have a different meaning not related to this area of communication, for example: company doctor (company doctor) - financial consultant, classman (class person) - student who passed the exam with honors, street Arab (street Arab) - street child , tramp, castler-builder (castle builder) - dreamer, jack-in-office - self-important official, bureaucrat.
An analysis of Russian-language lexicographic publications indicates that in the Russian language, with the help of metaphorical transfer, a significant number of names of persons are formed (amoeba, baritone, hog, wizard, block, oak, stallion, contralto, chicken, swallow, model, nymph, saw, weakling, little devil, cabinet, little thing, shuttles).
No less widespread are words and phrases with the meaning of person, which are borrowings from the literary language as a result of a change in the scope of the meaning of the word. A significant part of the Russian-speaking and English-speaking names of persons of this kind coincide, which is probably caused by extralinguistic reasons - the coincidence of the main, basic phenomena in the cultural life of both peoples, their special relevance in use for speakers of both languages (servants of Themis, Buridan's donkey, man in a case, Figaro, the stingy knight, the princess and the pea, the unfaithful Thomas, the tradesman in the nobility, the wise minnow, Valaam's donkey).
In addition, this corpus of linguistic units is regularly replenished with semantic derivatives formed as a result of expanding the meaning of commonly used words, such as, for example, sender, partner, seller, buyer, trader. A comparison of the interpretations of such lexemes, which are given, on the one hand, in general literary dictionaries, and on the other, in special lexicographic publications, indicates that for special and non-special names of persons, the integral feature is the designation of the person by type of activity (sale, purchase, etc.) .d.). In addition, additional differential features receive special interpretations: designation of individuals and/or legal entities; attitude towards an obligation, contract, etc.
In conclusion, we note that the lexical-semantic method of nominating persons is widespread in both languages under study.
Youth Youth and the science: reality and future”, aimed at creating... . Korchagina M. B. - M., 1998. – P. 48. Scientific publication The youth And the science: reality and future Materials of the III International...
Youth and science (3)
DocumentConferences of students, graduate students and young scientists " The youth And the science: reality and future". The first conference was held... Academy of Engineering and Economics, Russia 579 The youth And the science: reality and future Khodzhaev R.A. Tajik State...
Leonid Andreev's story "" is a sad story about a child who has no childhood. With his work, the writer wanted to draw public attention to the problems of children from poor families. They were often sent to work from an early age, thereby depriving them of their childhood.
The main character is a 10-year-old boy named Petka. His mother Nadezhda apprenticed him to the stern hairdresser Osip Abramovich. She hoped that there her son would be able to master a profession and then become a support for her.
There was nothing interesting in the stuffy hairdressing salon, just routine work. The children had no days off or even holidays. The establishment was located in a disadvantaged area: drunk people were constantly shouting outside the window and fights often broke out. Petka really dreamed of leaving for some other place, away from the hairdresser and Osip Abramovich.
The main character had a friend - Nikolka. He was three years older than Petka and considered himself experienced. Nikolka not only watched the chaos happening around him like a younger friend, but he himself cursed and made up vulgar stories.
The portrait description of Petka at the beginning of the story is depressing. The boy's hands are thin and dirty, covered in scabs. The author pays special attention to the hero’s eyes. They were always sleepy, although Petka slept a lot, but he always wanted to sleep more. This is a hint that the child wanted to distance himself from gray reality and sleep became the only salvation. Petka had already developed fine wrinkles near his eyes, which made him look like an aged dwarf.
The image of the main character undoubtedly evokes pity. But he was like that only when the child was in the city. His image changes after he arrives at the dacha.
The turning point in the story occurs when Nadezhda tells her son that she will take him to the dacha. She was invited there as a cook. Petya didn’t know what a dacha was, but he was sure that he would feel better there than in a hairdresser’s. He behaved impatiently and animatedly, and could not sit still while they were traveling on the train to the dacha.
The dacha really surprised Petka with its unusual quiet beauty. Blue skies, white clouds, clear river, beautiful faces and such harmony all around! Yes, the nature of the dacha was very different from the dullness and ugliness of his city. Petka realized that he had found the best place where he would like to stay.
The image of the hero changes: wrinkles on the face smooth out, liveliness appears in the eyes. Now Petya does not evoke pity because he is happy.
But, as soon as the hero got used to the dacha and began to forget about the hairdresser, a letter came with a call to the city. Nadezhda bitterly informed her son that he had to go home. The boy did not immediately understand what this meant and why he had to leave, because he had already found the best place. Then the realization of reality came, and the hero screamed like a wounded animal. The owner of the dacha showed sympathy for the boy, but did nothing for him.
Petya rode the train in silence, resigned to the fact that he would return to the hairdresser. The city indifferently swallowed its little victim.
