Writings on Literature: The Problem of Fathers and Children in Russian Literature The problem of fathers and children has been raised more than once in Russian literature. This topic is as old as the world. It is only a part of that endless natural struggle between the old and the new, from which the new does not always emerge victorious, and it is difficult to say whether this is good or bad. In addition, in the family, from his parents, a person receives the first knowledge about life, about relationships between people, therefore, the relationship in the family between parents and children determines how a person will treat other people in the future, what moral principles he will choose for himself that for him will be the most important and sacred. Different authors approach the problem of fathers and children in different ways. In addition to the novel by I.
S. Turgenev "Fathers and Sons", the very title of which shows that this topic is the most important in the novel, this problem exists in almost all works. The writing of Fathers and Sons coincided with the most important reforms of the 19th century, namely the abolition of serfdom. The century marked the development of industry and natural sciences. The connection with Europe has expanded. In Russia, they began to accept the ideas of Westernism.
The "fathers" held the old views. The younger generation welcomed the abolition of serfdom and reform. The generation of those leaving is painfully aware of its weakness, it is in vain that the young are so confident in their strengths - there are no winners in the struggle of "fathers and" children. Everyone loses. But if there is no struggle, there is no progress. If there is no denial of the past, there is no future.
At the time of his hard thoughts about the reasons for the discrepancy with his son, Nikolai Petrovich recalls an episode from his life: he had a quarrel with his mother and told her that she could not understand him, since they belong to different generations. "She was terribly offended, and I thought: what to do? The pill is bitter - and you need to swallow it. Now our turn has come, and our heirs can tell us: you, they say, are not of our generation, swallow the pill." He doesn't even want to admit to himself how the condescending tone of Arkady, and his friendship with the "nihilist", and his new views, and most importantly, unwillingness to recognize his father as an equal, close-minded person, offend him. Nikolai Petrovich does not want to feel like a "retired person", an old man who has become obsolete. This natural misunderstanding of generations in the case of the Kursanov family was caused by the appearance of a person of alien views from an alien circle, so it quickly fades away: Arkady meets a girl of his circle, peace reigns.
In the future, each proves to the other his worth: Arkady is successfully engaged in farming, and Nikolai Petrovich took up a career: he got into the "world intermediaries". This "conflict of generations" proves that there are more similarities, mutual understanding, than differences between them. It is temporary, so to speak, age. And Arkady successfully outgrew him. He has everything: home, household, family, beloved wife. Bazarov is superfluous on this list. He passed away from the life of Arkady, whose ideas were the "bone of contention". The author leads us to the fact that the young man is likely to repeat the path of his father. The clash of Chatsky - a man with a strong-willed character, wholehearted in his feelings, a fighter for an idea - with Famus society was inevitable.
This clash is gradually becoming more and more fierce, it is complicated by Chatsky's personal drama - the collapse of his hopes for personal happiness. His views against the existing foundations of society are becoming increasingly harsh. If Famusov is the defender of the old century, the heyday of serfdom, then Chatsky, with the indignation of a revolutionary Decembrist, speaks of serfdom and serfdom. In the monologue "Who are the judges?" he angrily opposes those people who are the pillars of the noble society.
He sharply speaks out against the beloved order of Famusov's golden age of Catherine, "an age of obedience and fear - an age of flattery and arrogance." Chatsky breaks ties with the ministers, leaves the service precisely because he would like to serve the cause, and not to flatter before the authorities. "I would be glad to serve, it is sickening to serve," he says. He defends the right to serve education, science, literature, but this is difficult in the conditions of the autocratic-serf system. If the Famusian society scornfully treats everything that is popular, national, slavishly imitates the external culture of the West, especially France, even neglecting its native language, then Chatsky stands for the development of a national culture that assimilates the best, advanced achievements of European civilization. He himself "was looking for the mind" during his stay in the West, but he is against "empty, slavish, blind imitation" of foreigners.
Chatsky stands for the unity of the intelligentsia with the people. If the Famusian society evaluates a person by his origin and the number of serf souls he has, then Chatsky values \u200b\u200ba person for his intelligence, education, his spiritual and moral qualities. For Famusov and his circle, the opinion of the world is sacred and infallible, the worst of all is "what will Princess Marya Alekseevna say!" Chatsky defends freedom of thought and opinion, recognizes that every person has the right to have his or her convictions and express them openly.
Evgeny Bazarov follows the same. In a dispute with Pavel Petrovich, he directly and openly defends his ideas. Bazarov accepts only what is useful ("They will tell me the case - I will agree." "In the present time, negation is most useful - we deny"). Evgeny also denies the political system, which confuses Pavel Petrovich (he “turned pale.”) Pavel Petrovich and Bazarov have different attitudes towards the people. To Pavel Petrovich, the religiosity of the people, life according to the rules established by the grandfathers seem to be the primordial and valuable features of the people's life, they touch him.
Bazarov hates these qualities: "The people think that when the thunder is thundering, it is Elijah the prophet in a chariot that rides across the sky. Well? Should I agree with him?" One and the same phenomenon is called differently, and its role in the life of the people is assessed differently. Pavel Petrovich: "He (the people) cannot live without faith." Bazarov: "The crudest superstition is strangling him." Disagreements between Bazarov and Pavel Petrovich in relation to art and nature are seen. From Bazarov's point of view, "reading Pushkin is a lost time, making music is funny, enjoying nature is absurd."
Pavel Petrovich, on the contrary, loves nature and music. The maximalism of Bazarov, who believes that it is possible and necessary to rely in everything only on one's own experience and one's own feelings, leads to the denial of art, since art is precisely the generalization and artistic interpretation of someone else's experience. Art (and literature, and painting, and music) softens the soul, distracts from business. All this is "romanticism", "nonsense". Bazarov, for whom the main figure of the time was a Russian peasant, crushed by poverty, "gross superstitions", it seemed blasphemous to talk "about art," unconscious creativity "when" it is about daily bread. "
They argue about poetry, art, philosophy. Bazarov amazes and irritates Kirsanov with his cold-blooded thoughts about the denial of personality, of everything spiritual. But all the same, no matter how correctly Pavel Petrovich thought, to some extent his ideas are outdated. Moreover, his opponent has advantages: the novelty of thoughts, he is closer to the people, after all, courtyard people are drawn to him.
Of course, the principles and ideals of the fathers are becoming a thing of the past. But one cannot agree with the thoughts of a nihilist either. Love for Madame Odintsova caused the final defeat of his views, showed the inconsistency of ideas. I think that even when Bazarov meets his parents, the generational conflict reaches its climax.
This is manifested primarily in the fact that neither Bazarov himself, nor, perhaps, even the author, knows how the main character really relates to his parents. His feelings are contradictory: on the one hand, in a fit of frankness, he confesses that he loves his parents, and on the other, his words show contempt for the "stupid life of fathers." And this contempt is not superficial, like that of Arkady, it is dictated by his position in life, firm convictions. Relations with Madame Odintsova and her parents prove that even Bazarov cannot completely suppress his feelings and obey only the mind. It is difficult to explain what kind of feeling will not allow him to completely abandon his parents: a feeling of love, pity, and, perhaps, a feeling of gratitude for the fact that it was they who gave the first impulses that laid the foundation for the development of his personality. In a conversation with Arkady, Bazarov asserts that "every person should educate himself - well, at least like me."
Municipal educational institution
"Secondary school number 6"
Literature Abstract
"The theme of" fathers and children "in the world
fiction "
Performed by a student of grade 8 "B"
Goreva Ekaterina Alekseevna
Leader Laryushkina Larisa Evgenievna
1. Introduction. ……………………………………………………………………… .3
1.1. The theme of "fathers and children" as eternal in world fiction ………………………………………………………………………… 3
1.2. Purpose ………………………………………………………………………… .3
1.3. Tasks ……………………………………………………………………… .3
2. Main part …………………………………………………………….… 3
2.2.Mitrofan Prostakov and his disdainful attitude towards his own mother (D.I.Fonvizin “The Minor”) …………………………………………… ..5
2.3. The beauty of patriarchal relations between fathers and children in Pushkin's stories ("The Young Lady - Peasant Woman", "Snowstorm") ……………………………………………… 6
2.4 The eternal image of King Lear as the embodiment of the tragedy of an abandoned father (W. Shakespeare "King Lear", IS Turgenev "King Lear of the Steppe", A.S. Pushkin "The Stationmaster", K. G. Paustovsky "Telegram") ……………ten
2.5. Mutual understanding and sensitivity in relationships as a new facet of the development of the topic in the relationship between parents and children (N.M. Karamzin "Poor Liza", A. S. Green "Scarlet Sails") …………………………………… ……………………… 22
2.6. The motive of filicide as a terrible denouement of antagonism in works (N.V. Gogol "Taras Bulba", P. Marime "Mateo Falcone") ……………………………………………………………… ………… 25
2.7. The death of a father is a variant of the moral punishment of his son for betrayal in Dode's story "The Little Spy" ……………………………………………… 28
2.8. The portrayal of the difficult path of the heroes to mutual understanding in Aldridge's story "The Last Inch" …………………………………………………… 29
3. Conclusion. …………………………………………………………………… 32
4.Prilozheniya .............................................................................. 33
5. Bibliography ………………………………………………………… ...… .36
1. Introduction
1.1. The theme of "fathers and children" as eternal in the world of fiction
The theme of "fathers and children" is a recurring theme in the world of fiction. Its development was carried out by the authors of many eras, working in different genres. The main thing for writers in the analysis of intergenerational relations was the conflict associated with the difference in the worldviews of "fathers and children." In my opinion, this is too narrow an interpretation that does not allow to capture all the facets of the relationship of close people of different generations. This problem attracted me with its eternal sound. And in our time there is a drama of disagreements between "fathers and children", the origins of which originate in the change in the moral principles of the epochs to which young and mature people belong.
1.2. goal
trace the development of the theme of "fathers and children" in the works of world fiction based on the analysis of the poetics of the works and the author's position.
1.3. Tasks:
Select works of the specified subject
Analyze the movement of the theme of "fathers and children" from the standpoint of the relationship between traditions and innovation, the genre nature of works
List bibliography
Examine literary sources on the problem
2. Main part
2.1. The content of the "Teachings of Vladimir Monomakh" as a reflection of the indisputability of the advice of elders in the era of Kievan Rus
In Russian literature, the theme of "fathers and children" originates in books written during the times of Kievan Rus. One of the brightest works of that era is Vladimir Monomakh's Teaching to Children. In the context of the work, the word "children" is ambiguous and is used both in relation to subjects and heirs. In connection with the analysis of the topic, I am interested in teaching the prince to his sons. It is thanks to this historical document that the modern reader learns about the peculiarities of raising children in Russia in the eleventh century. The indisputability of the advice of the elders in that era, as well as the predominance of church education over the secular, can be proved by analyzing the "Precept".
It is worth noting that the entire work is imbued with religious themes, and not by chance. The fundamental principles of education in that era were the commandments of the church. One of the articles of the historian V.O. Klyuchevsky "On the upbringing of children in Russia" says: "The relationship between parents and children in ancient Russian families was regulated by the norms of Christian morality." The Grand Duke shows the need for obedience to the Lord, making a prayer that the reader does not forget about the Almighty. Vladimir Monomakh asks: "Shed tears for your sins", "Do not compete with the evil one, do not envy those who do lawlessness, for the evil ones will be destroyed, the obedient ones will own the land." I would like to present a few more excerpts from "The Teachings of Vladimir Monomakh", which reflect the whole essence of education in the era of Kievan Rus. “Above all, pride, but keep it in your heart and mind, but let us say: we are mortal, today we are alive, and tomorrow is in the grave; all this that you gave us, not ours, but yours, entrusted us with this for a few days. And do not save anything in the earth, this is a great sin for us. Honor the old as a father, and the young as brothers. " The main commandments in relation to elders, the prince calls their veneration, and to the young - love and respect. Here Monomakh teaches the youths not to live in one day, to think about the future and not to forget that any of us is mortal and death can come at any moment, that is, the Grand Duke speaks of earthly life as a preparation for heavenly life. This can also include the words about the direct dependence of the state of mind on the bodily state: "Beware of lies, and drunkenness, and fornication, because of this the soul and the body perish." Doctor of Philology gives such an explanation for the content of the "Teachings": "It is obvious that Vladimir Monomakh built his life according to Christian commandments, remembering death and the Day of Judgment, on which he expected reward for his deeds."
The Grand Duke claims that in no case should you be lazy, also explaining this with fatal consequences at the Last Judgment: “For God's sake, do not be lazy, I pray you, do not forget those three deeds, they are not difficult; neither by seclusion, nor monasticism, nor to receive the grace of God. " The Prince also does not forget about everyday affairs and writes: “Having gone to war, do not be lazy, do not rely on the governor; no drink; do not indulge in food, nor sleep ... ". Monomakh teaches hard work and moderation.
It can be assumed that Vladimir Monomakh in his "Instruction" draws a parallel between children and Russian princes, thereby giving guidance to his subjects. He advises on how to properly conduct state affairs without disturbing order. The academician expresses himself in this regard: "It is to the princes that the" Instructions "and other related" write-offs "are addressed. He teaches the princes the art of land management, encourages them to postpone offenses, not to break the kiss of the cross, to be content with their lot ... "
In drawing a conclusion about the educational role of the "Teachings", one cannot but recall the words of Likhachev: "Monomakh's letter must occupy one of the first places in the history of human Conscience, if only this History of Conscience is ever written." The "Precept" illustrates not the relationship of "Fathers and children" as such, but shows the inviolability of the moral commandments of the elder to the younger, calling not for simple obedience, but for mutual respect and love.
2.2.Mitrofan Prostakov and his disdainful attitude towards his own mother (DI Fonvizin "The Minor")
The original embodiment was given to the theme of "fathers and children" in the comedy "Minor". Here, first of all, its development is associated with the problem of noble education. DI. Fonvizin portrays the protagonist, Mitrofan Prostakov, as a rude, stupid boy spoiled by his mother.
"A son worthy of his mother," - this is how M.I. Nazarenko about the undergrowth. Indeed, the author's dismissive, derogatory opinion about the heroes is heard in the reviews about Mitrofanushka of the heroes-resonators, Starodum and Pravdin. Through the mouth of Pravdin, the playwright gives the following assessment to Prostakova: "Madame inhuman, who cannot tolerate evil in a well-established state." “Mitrofan used to shiver with joy when he saw a pig in childhood,” the stupid mother recalls with emotion. What kind of son can grow up with such a mother? Glutton, rude and lazy. Is this not the fruit of the upbringing of the Prostakov family?
The similarities between son and mother can also be seen in relation to both of the sciences. Prostakova "teaches" her son, rejoicing that Mitrofan's teacher is not being held captive. She “prepares Mitrofanushka” by hiring a sexton Kuteikin, a retired sergeant Tsyfirkin and a German Vralman, a former coachman. The level of education of teachers proves their “professionalism”. The landowner considers teaching a torment and indulges her son in his laziness. Mitrofan, realizing this, declares: "I don't want to study, but I want to get married!"
I will analyze the scene that most vividly reflects the inner world and the same level of life aspirations of mother and son. “While he is resting, my friend, at least for the sake of appearance, learn to hear how you work, Mitrofanushka,” advises mamma. According to Prostakova, in order to make a good impression on someone, you need to acquire knowledge "for the sake of appearance", fictitiously. This negatively affects the level of education of the son. “Mitrofan. Ask your butts, turn around. Tsyfirkin. All ass, your honor. After all, you will stay with the backs a century ago. Ms. Prostakova. None of your business, Pafnutich. It's very nice to me that Mitrofanushka doesn't like to step forward. With his mind, but fly far, and God forbid! ”- these words confirm the landowner's biased assessment of her adolescent, indulging his stupidity. It is not for nothing that teachers dream in vain to re-educate an uncouth undergrowth. “Tsyfirkin:“ I would give myself an ear to carry it, if only I could beat this parasite like a soldier! .. Eka an ugly! ”.
After analyzing the work and choosing the brightest replicas of the characters, you can draw up a table characterizing the attitude of Mrs. Prostakova and her son to various representatives of the figurative system. (See Appendix 1)
By classifying the expressions of the two characters, you can see that often the mother and son experience similar feelings and emotions. The attitude of the mother and her child to those around them is the same: it is distinguished by open rudeness, neglect, and sometimes even despotism.) The contempt of mother and son, hatred and the desire to be pushed around are also manifested in dialogues with the elder Prostakov and Skotinin.
Prostakova calls her husband a "freak" and "bastard", beats him, feeling sorry for himself, saying: "From morning to evening, as if I was hanging by my tongue, I don’t lay my hands: now I scold, then I fight." Eremeevna advises "to grab the brother's mug", calling her "you are a dog's daughter." When it was not possible to marry Mitrofan to Sophia, she shouts: "I will order everyone to be beaten to death!"
With his father, Mitrofan behaves in the same way as with the rest of the heroes. For a son, there is no such thing as paternal authority and respect for the priest. The ignoramus, following the example of his mother, does not notice his own father.
A son, accustomed to the fulfillment of all his whims, begins to get nervous if something does not happen according to his will. He says to his mother: "Nyrnu - so remember what they called." The ignoramus scolds the teachers, not recognizing the authority of the elders ("garrison rat"), threatens to complain to the mother. Mitrofan calls Eremeevna "an old hrychovka".
Nazarenko in his work "Types and Prototypes in Comedy" states: "The son was not only an heir, but also had to feed and provide for the elderly parents to their" belly ". So what "worthy son" will come out of Mitrofan? No wonder at the end of the comedy Pravdin sends him to the service.
In the finale of the comedy, Prostakova is morally killed: her estate is given under guardianship. In despair, the mother rushes to her son for consolation, but in response she hears monstrously rude words: "Yes, get off, mother, how imposed."
Starodum pronounces a wonderful phrase in the finale: "Here is evil worthy fruits!"
In the comedy, Fonvizin, using the example of the relationship between Mrs. Prostakova and Mitrofanushka, depicts the terrible consequences of the irrepressible, blind, animal maternal love, which morally disfigures her son and turns him into a monster. Whereas in other literary works the line “fathers and children” is clearly created, in “The Minor” the author describes in more detail the conflict between “mother and son”, because Mitrofan's relationship with his father, neglect of him, is due to maternal upbringing.
2.3. The beauty of patriarchal relations between fathers and children in Pushkin's stories ("Young Lady - Peasant Woman", "Snowstorm")
Alexander Sergeevich Pushkin introduced a new, deep and diverse sound to the development of the theme of "fathers and children". So, his stories "The Young Lady-Peasant Woman" and "Snowstorm" captivate with the charm of patriarchal relations between representatives of the older and younger generations, based on love.
Young heroes often disagree with the opinion of their fathers, but prefer not to go into direct conflict, but to wait out for a while in the hope of changing the fateful decision of their elders. This, first of all, concerns the choice of a career by the young hero of The Young Lady-Peasant Woman: “He was brought up at the *** university and intended to enter the military service, but his father did not agree to that. The young man felt completely incapable of civil service. They were not inferior to each other, and young Alexei began to live as a master for the time being, letting go of his mustache just in case. "
Liza, on the contrary, is distinguished by her willfulness, but with her tricks deserves the deep sympathy and affection of her Anglomaniac father: “She was the only and consequently spoiled child. Her playfulness and perpetual mischief delighted her father. "
The heroes, it would seem, surrender to the will of the senses, but everyone knows about the impossibility of marrying without parental consent and internally submits to such a decision: “Alexey, no matter how attached to his dear Akulina, remembered the distance between him and the poor peasant; and Liza knew what kind of hatred existed between their fathers, and did not dare to hope for mutual reconciliation. "
The father is always ready to yield to the whims of his beloved daughter, if he does not consider the issue to be of principle. We can observe this in the episode where the heroine refuses to go out to the expected guests, fearing exposure: “What are you talking about! she said, turning pale. - Berestovs, father and son! Dine with us tomorrow! No, papa, as you please: I will never show myself. " - “What are you crazy? - objected the father, - how long have you become so shy, or do you harbor a hereditary hatred for them, like a romantic heroine? Enough, don't be fooled ... "-" No, papa, for nothing in the world, for any treasures I will not appear before the Berestovs. " Grigory Ivanovich shrugged his shoulders and did not argue with her anymore, for he knew that contradictions would not take anything from her ... ”.
Grigory Ivanovich Muromsky explains the incomprehensible behavior of his daughter by her tendency to leprosy, but even now he continues to admire the mischief: “Dad,” answered Lisa, “I will accept them, if you like, only with an agreement: no matter how I appear before them, what would I did not, you will not scold me and give no sign of surprise or displeasure. " - “Again, some pranks! - said, laughing, Grigory Ivanovich. - Well, good, good; I agree, do what you want, my black-eyed minx. " With this word he kissed her forehead, and Liza ran to get ready. " The daughter cannot become docile and prudent, but even at such moments she warns her father about her upcoming tricks, not wanting to upset him and in this way enlisting his support. This allows Muromsky to easily endure Betsy's quirks: “Grigory Ivanovich remembered his promise and tried not to show even the sight of surprise; but his daughter's prank sounded so amusing to him that he could hardly resist. My father kept looking at her every minute, not understanding her purpose, but finding it all very funny. " We see the same in the episode of the explanation of the father and daughter after the departure of the guests.
The patriarchal nature of the relationship between the elders and the younger is clearly shown by Grigory Ivanovich's thoughts about Alexei Berestov as a profitable party for his daughter: "Muromsky often thought that ... Alexey Ivanovich would be one of the richest landowners of that province, and that there is no reason for him not to marry Liza." ... The same attitude to marriage as a parental will is illustrated by Alexei's dialogue with his father: “No, father,” Alexei replied respectfully, “I see that you don’t want me to go to the hussars; it is my duty to obey you. " “Well,” answered Ivan Petrovich, “I see that you are an obedient son; it is comforting to me; I don’t want to keep you; I do not compel you to join ... immediately ... in the civil service; but in the meantime I intend to marry you. "
But young Berestov may be adamant when it comes to his fate:
“- Not your grief - her happiness. What? Is that how you honor the will of a parent? Good!
As you please, I do not want to marry and I will not marry.
You marry, or I will curse you, and the estate, as God is holy! I will sell and squander, and I will not leave you half a half! I give you three days to think it over, and in the meantime don't dare show yourself to me. "
A well-known literary critic on the patriarchal nature of the relationship between father and son notes: "He [Alexei Berestov] may refuse, but then he loses the right to heir along with wealth - such is the threat of the father." Further, the literary critic concludes: "Not reckoning" at random ", not flight with a loose hope for the mercy of parents, but the conscientiousness of the act" according to conscience "is the central moment of the story." I fully share the concept of the researcher, because the emerging conflict of generations is resolved by the patriarchy of raising "children"
In "The Young Lady-Peasant" Pushkin depicts the charm of the provincial life of the Russian nobility, based on the love of "fathers and children", the ability to come to an agreement even in the event of conflict situations. And only the heroes are ready to defend love, entering into an open dispute with their parents.
Alexander Sergeyevich continues the theme of patriarchal relationships between "fathers and children" in the story "Snowstorm", where he also talks about the feelings of people of different generations. The difference from the previous work, the innovative sounding of the theme of "fathers and children" is that the main character of "Blizzard" is still trying to deceive her parents.
Unfortunately, it was not possible to find the literature investigating the development of the topic in this work, so my analysis will take a key place in the study.
The relationship of young people was under threat due to the reluctance of the father and mother of Marya Gavrilovna to marry her daughter to her lover. The author shows that it was precisely the realization of this unwillingness that dictated the hero's decision: “In each letter he begged her to surrender to him, get married secretly, hide for a while, then rush to the feet of her parents, who, of course, will finally be touched by the heroic constancy and misfortune of lovers and will tell them by all means : “Children! come into our arms. "
Education and convictions did not allow Marya Gavrilovna, without thinking about her parents, to leave the house. Here the heroine behaves like the characters of The Young Peasant Woman. The lack of an opportunity to receive the blessings of her parents makes the girl hesitate for a long time: “Many escape plans were rejected. Finally, she agreed: on the appointed day, she had to skip dinner and retire to her room under the pretext of a headache.
In this story, Pushkin depicts an attempt by young heroes to change their fate. This explains the escape of Marya Gavrilovna from her father's house. But even such a desperate step does not deprive the girl of her daughter's love and affection. This is best conveyed by the author in the letter of the heroine: "She said goodbye to them in the most touching expressions, excused her offense with an irresistible force of passion and ended up with the blissful moment of her life when she was allowed to throw herself at the feet of her dear parents."
The image of the priest did not leave the young girl even in her dreams: “It seemed to her that at the very minute she sat down in the sleigh to get married, her father stopped her, dragged her with agonizing speed through the snow and threw her into a dark, bottomless dungeon. .. and she flew headlong with an inexplicable sinking heart. " I think that such a cruel scene of the massacre of a fugitive could not have taken place in reality and is a consequence of the feeling of the incorrectness of his decision.
The sensitivity of the elders has greatly influenced the strengthening of kind-hearted relations between generations. We can observe this in the episode when the parents seem to understand the inner state of their daughter: “The father and mother noticed her anxiety; their tender solicitude and incessant questions: what's wrong with you, Masha? aren't you sick, Masha? - tore her heart. She tried to calm them down, seem cheerful, and could not. Evening came. The thought that this was the last time she was spending the day in the middle of her family oppressed her heart. She was barely alive ... ". The daughter experiences shame and remorse when she sees the touching work of her relatives.
It is hard for any person to experience the death of their parents, especially if the relationship was beautiful, albeit imperfect. This is clearly demonstrated by the author, describing the state of Marya Gavrilovna after the loss of her father: “But the inheritance did not comfort her; she shared the sincere grief of poor Praskovya Petrovna, vowed never to part with her ... "Such a long-suffering feeling of the heroine for her mother, we may well call ideal, filled with sympathy and care. So, in the depiction of the patriarchal relationship of "fathers and children" in the works of Pushkin, we see the author's position. The author shows the versatility of the characters of the heroes, the consequence of which is their different attitude to the world that is happening, but the strong love of parents and children allows them to overcome the difficulties of misunderstanding.
It was by depicting the charm of the patriarchal relationship between "fathers and children" that Pushkin filled the theme with new content.
2.4. The eternal image of King Lear as the embodiment of the tragedy of an abandoned father (W. Shakespeare "King Lear", IS Turgenev "King Lear of the Steppe", A.S. Pushkin "The Station Keeper", K. G. Paustovsky "Telegram"
World fiction does not always tell about the cloudless relationship between parents and children. Often the authors describe tragedies associated with misunderstanding, hatred, ingratitude. But every writer who tells about the conflict of "fathers and children" finds in it a new facet of contradictions and reveals it with original innovative means.
In this part of the study, I will consider works centered on the image of an abandoned father. Features of the plot dictate different behavior of the opposing sides, but the endings of these works are similar. It is associated with the death of an abandoned father as a result of a chain of irreparable mistakes of the characters.
The first work, which became the discovery of the theme for me, is the tragedy of W. Shakespeare "King Lear". The great playwright tells about the shortsightedness, naivety and imprudence of his father, who abandoned his daughter, who truly loved him, believing the beautiful words of the other two. Thus, he doomed himself to poverty, grief and wandering in the steppe with his youngest daughter Cordelia.
The conflict in the play begins with the division of the kingdom between Lear's three daughters. The father, who generously presents them with an inheritance, asks to tell about the feelings of each for him:
“Goneril.
My love is beyond words.
You are dearer to me than the air, the light of the eyes,
More valuable than riches and all the treasures of the world,
Health, life, honor, beauty,
I love you as the children did not love
Until now, never their fathers.
The tongue goes numb from this feeling
And it takes your breath away. "
The father is pleased with this answer to the first daughter, so he decides:
We give you
All this edge from that line to this,
With a forest shadow, full of rivers,
Fields and meadows. From now on they
Own forever with your spouse and children. "
Father, sister and I are the same breed
And we have one price. Her answer
Contains everything I would say myself
With the little difference that I
I do not know the joys of others besides
My great love for you, sir. "
This answer satisfies King Lear:
We give you this third with offspring
In our beautiful kingdom. Shiryu,
The beauty and fertility of this part
No worse than Goneril's. "
The youngest, the most beloved daughter of the king, Cordelia, on the contrary, does nothing to "secure a share that is more extensive than her sisters."
Her laconic answer "nothing, my lord" confuses Lear and provokes anger. The father, insulted in his feelings, demands to explain the incomprehensible behavior for him, threatening to deprive the "ungrateful" Cordelia of the inheritance. The daughter remains adamant, although the consequences of the punishment are dire: loss of inheritance, groom and father. The king misinterprets the motives of the deed of his beloved daughter, does not appreciate the girl's sincerity, frightening the reader with curses, accusations and rudeness: "You would rather not be born than annoy me!" The king commits a fatal act: he drives away his daughter, refusing her, and leaves with the words: “We cannot live with her. She is not our daughter. Depart from us without a kind word and without the blessing of your father. "
Even after being banished from her parental home, Cordelia is most worried about her father's fate, as shown by her conversation with her sisters:
"Cordelia
Father's treasures, in tears
I'm coming from you. I know your properties
But, sparing you, I will not name.
Watch your father. Its anxious
I entrust your ostentatious love.
Not this unexpected disgrace,
I would find a better shelter for my father.
Goodbye sisters. "
The sensitive daughter is not worried in vain: after all, immediately after her departure, Goneril and Regan, in a dialogue, express dissatisfaction with Lear's intention to live with them. Here they have a plan to kick their father out of the house in various ways:
“Goneril.
Less ceremony. Hand over
Everyone in the house has it. I want business
It came to an explosion. I'm bad -
Let him move to his sister. I know
That she has a similar view of it.
She will not give command to the stubborn.
He gave up power himself, but wants to rule
Still! No, old people are like children
And a lesson is required of rigor
When kindness and affection are not good for them.
Remember this. "
King Lear, gradually realizing his sight and guessing about the intentions of Goneril, begins to shower her with curses, just as he did with Cordelia. However, this time his reproaches are true and sound like this: “Lear. Waste and perish from corruption! Get lost from the ulcers of your father's curse! "
Abandoned by one daughter, the father hopes to find shelter with Regan, but even there he is denied shelter. Regan tries to justify her sister and send her father back:
It's hard for me to allow Goneril
I could forget my debt. And if she
I had to appease the excesses of your retinue,
I approve of this sober step. "
And only the younger sister, unjustly exiled and cursed by her father, is ready not only to accept him, but also to protect him. It is in this act, and not in empty words, oaths and promises, that the daughter's true love for her father is manifested:
"Cordelia.
I didn’t come out of a desire for fame
But out of love, out of love alone,
To stand up for my father. Hurry up
See and hear him for me! "
True repentance comes to Lyra only after the death of his truly loving daughter. This terrible retribution of fate makes Lear defenseless. The hope that Cordelia is alive burns in his heart until the very last moment: “The feather moved. Comes alive! Oh, if this is true, this moment will atone for everything that I have suffered in my life. " But still, the father realizes that Cordelia is dead.
Unable to survive the last blow, unable to endure complete loneliness, King Lear dies with his daughter. This is the atonement for the father's great sin:
The poor thing was strangled! No, it doesn't breathe!
A horse, a dog, a rat can live,
But not for you. You are gone forever
Forever, forever, forever, forever, forever! -
It hurts me. Unfasten the button ...
Thank you. Look sir!
You see? Look at your lips!
You see? Take a look at her!
(Dies.)"
Fry characterized the work, highlighting the features of the author's innovation: “As is usually the case with Shakespeare, the changes he made to the material borrowed from various sources primarily consist in strengthening the tragic element. If Shakespeare's predecessor has Lear again becomes king, and Cordella remains alive, then Shakespeare ends the tragedy with the death of Lear and Cordelia. " From this we can conclude that in inventing the images of the heroes, the plot, the author followed a certain literary tradition, adding to the already familiar theme, a share of innovation.
Thus, Shakespeare in the tragedy showed the relationship of "fathers and children", which can not be called ideal. King Lear, not seeing the true love of one daughter, was mistaken in believing the beautiful words of the other two, who, in turn, had no feelings for her father except the desire to get an inheritance, using his unlimited trust and credulity, his inability to distinguish flattery from love.
The tragic finale presents us with Lear, on the one hand, as a victim of irrepressible love and vanity, on the other, as the culprit of a terrible denouement. Here we observe not only the antagonism of "Fathers and Sons", but also the conflict between the representatives of the younger generation, for whom the concept of daughter's duty is filled with different content.
The theme received an interesting continuation in the story "King Lear of the Steppe" by Ivan Sergeevich Turgenev, the title of which leads to intertextual connections in the development of the problem of "fathers and children". Indeed, the plots of the two works develop in a similar way.
Turgenev's main character is a tough, straightforward man and brings up his daughters in severity. Let's analyze the episode: “Anna! - he shouted, and at the same time his huge belly rose and fell like a wave on the sea, - what are you? Turn around! Al did not hear? - Everything is ready, father, please, - came the voice of his daughter. I was inwardly amazed at the speed with which the orders of Martyn Petrovich were carried out. " Any orders of Martyn Petrovich were immediately executed by his daughters, which speaks of paternal authority: “Anna! - he shouted, - you would strum at the pianos ... Young gentlemen love it.
I looked around: there was some kind of pathetic piano in the room.
Listen, father, - answered Anna Martynovna. - Just what am I going to play for them? They won't be interested in it.
So what did they teach you in the Pingsion?
I reset everything ... and the strings snapped. Anna Martynovna's voice was very pleasant, sonorous and as if mournful ... similar to that of birds of prey. "
The father spoke about his daughters with love, secretly admiring them: "Freemen, Cossack blood."
The similarity with the plot of "King Lear" cannot be overlooked, in the moment when Martin Petrovich divided the estate "without a remainder" between the two sisters. Neighbors are surprised by this. But the priest is confident in his daughters, their decency and gratitude, hoping that they will accept him: “- Are you so confident in your daughters and son-in-law?
In death, God is free, - said mother, - and this is their duty, for sure. Excuse me only, Martya Petrovich; your eldest, Anna, is a famous proud woman, well, and the second looks like a wolf ...
Natalya Nikolaevna! - interrupted Kharlov, - what are you? .. Yes, so that they ... My daughters ... Yes, so that I ... Get out of obedience? Yes, even in their dreams ... To resist? Who? Parent? .. Dare? How long is it to curse them? We have lived our lives in trepidation and obedience - and suddenly ... Lord! "
In his will, the landlord indicated what should have been given to Marya and Evlampia, dividing everything equally, and the last phrase meant a lot to him: “And this is my parental will, my daughters, to fulfill and observe holy and indestructible, like a commandment; for after God I am their father and head, and I am not obliged to give an account to anyone and did not give; and they will do my will, then my parental blessing will be with them, and they will not do my will, which God protect, then my parental irrevocable oath will befall them, now and forever and ever, amen! "Kharlov raised the leaf high above his head, Anna immediately knelt down nimbly and banged her forehead on the floor; her husband tumbled after her. "Well, what about you?" Kharlov turned to Evlampia. She flushed and also bowed to the ground; Zhitkov bent forward with his whole body. "
The difference in the development of a cross-cutting motive is observed in the originator of the conflict. The daughters' attitude to their father was influenced by the chosen one of one of them: “- They did not ask their consent, sir. Here without you the order went off, - said Prokofy with a slight smile in response to my surprised look, - trouble! Oh my god! Now they have Master Slotkin in charge of everything. - And what about Martyn Petrovich? - And Martyn Petrovich became the very last person. Sitting on a dry day - what more? We solved it completely. Look, they'll drive him out of the yard. "
It would seem that, unlike King Lear, Kharlov is not forced to wander, but Prokofy's reviews confirm that the protagonist really "became the last man."
Neighbors cared about Martyn Petrovich more than his own daughters, who made excuses, telling about their father's “careless” life in the house: “- Shoe, Martyn Petrovich is dressed, eats the same as we do; What else can he do? He himself assured that nothing else in this world wants, but only to take care of his soul. If only he realized that now everything is, after all, but ours. He also says that we do not give him a salary; yes, we ourselves do not always have money; and what are they to him when he lives on everything ready? And we treat him like a family; truly I tell you. Rooms, for example, in which he has a residence, we really need! without them there is simply nowhere to turn; and we - nothing! - tolerate. We even think about how to bring him entertainment. So for Peter's day I bought a-atlich hooks in the city for him - real English: expensive hooks! to fish. We have crucians in our pond. I would sit and fish! An hour, sat another one, an ear and ready. The most sedate occupation for old people! "
The daughters' thoughts on how to get rid of the priest are terrible. The work does not directly say about this, but the author seems to hint to readers with the words of a song that one of the girls sings:
"You find, you find, terrible cloud,
You kill, you kill father-in-law.
You smash, smash you mother-in-law, mother,
And I'll kill my young wife myself! "
The verb “decided” adds gloom to the story of the bitter fate of the steppe “King Lear”. Martyn Petrovich could not stand such an attitude and left home for his neighbors, who predicted the situation, however, could not believe what had happened: “I can still understand this about Anna; she is a wife ... But why on earth is your second ... - Evlampia? Worse than Anna! Everything, as it is, completely surrendered itself to Volodka's hands. For that reason, she refused your soldier too. According to his, according to Volodkin, orders. Anna, obviously, should be offended, but she can't stand her sisters, but she obeys! Bewitched, damned! Yes, Anna, you see, it is pleasant for her to think that here, they say, you, Eulamnia, how proud you have always been, and now what has become of you! .. Oh ... oh, oh! Oh my god, oh my! "
Not having the strength to endure the betrayal of the closest people, forced to live as a wanderer, Martyn Petrovich decided to commit a terrible sin, suicide. The denouement of the story is sad. The father, who did everything possible for the cloudless life of his daughters, falls from a height. At the end of his life, he sees the remorse of one of the daughters: “- What, daughter? - answered Kharlov and moved to the very edge of the wall. On his face, as far as I could make out, a strange grin appeared - a light, cheerful and precisely for this reason a particularly terrible, unkind grin ... Many years later I saw the exact same grin on the face of one sentenced to death.
Stop it, father; come down (Evlampia did not tell him "father"). We are to blame; we will return everything to you. Come down.
And what are you doing for us? - Sletkin intervened. Evlampia only furrowed her brows.
I will return my part to you - I will give everything. Stop it, come down, father! Forgive us; forgive me. Kharlov continued to grin.
It's too late, my dear, - he spoke, and his every word rang like brass. - Your stone soul moved late! It rolled downhill - now you can't hold it! And don't you look at me now! I am a lost person! You better look at your Volodka: you see, what a handsome man he was looking for! Look at your echidic sister; there is her fox nose out of the window, there she is pushing her hubby! No, sudariki! If you wanted to deprive me of my shelter, then I will not leave you a log on a log! I laid it with my own hands, I will ruin it with my own hands - as it is with my own hands! You see, he didn't take an ax! "
The reader does not doubt the unhappy father's determination to fulfill his terrible intention, it is no coincidence that the narrator compares him with a condemned to death. Relationships that could have remained affectionate and warming have turned into antagonistic ones. Children with their own hands have prepared a terrible denouement for a person close to blood. Before his death, Kharlov calls himself a lost person, not because he was left without a livelihood, but because of a cruel punishment for trust, a terrible tragedy of alienation.
The most important secret was what Eulampia's father said before his death: “I’m not talking about ... wedging or not forgiving ... forgiving?” The rain started pouring again, but I walked at a pace. I wanted to stay alone longer, I wanted to indulge in my thoughts without choice. In his unwillingness to curse, the author once again emphasizes the power of paternal love. Repentance came to Eulampia, but it can be called belated, since the fate of his father predetermined their cruel attitude towards him.
The next step in the development of the theme was the story of A.S. Pushkin's "Stationmaster". The author tells the story of an abandoned father. The ending does not differ from the ending of "King Lear" and "Steppe King Lear", the death of the father is a terrible punishment, and just like in the previous work, the repentance of children comes too late. However, there are a number of differences between the three narratives.
Samson Vyrin doted on his daughter, which does not escape the gaze of the narrator. "Is this your daughter?" I asked the caretaker. "Daughter, sir," he answered with an air of contented pride, "yes, such a sensible, so agile, all dead mother." And even when she left the old man, the father says about her with love, trepidation, he does not understand the act of his daughter: “So you knew my Dunya? he began. - Who did not know her. Ah, Dunya, Dunya! What a girl she was! It used to be that whoever passes, everyone praises, no one condemns. The ladies gave her, that with a handkerchief, that with earrings. Gentlemen passing by deliberately stopped, as if to dine, or to have supper - a comparison, but in fact, only to have a look at her. It used to be that the master, no matter how angry he was, would calm down in front of her and talk to me graciously. Believe it, sir: the couriers, couriers talked to her for half an hour. She kept the house: what to clean, what to cook, she kept up with everything. And I, old fool, will not get enough of it, sometimes I will not get enough of it; Did I really not love my Dunya, did I not cherish my child; did she not have a life? No, you can't get out of trouble; what is destined will not be avoided. " The author helps to understand the state of his father, using various techniques, such as rhetorical questions: “Who didn’t know her?”, “But I, old fool, will not get enough of it, sometimes I am not overjoyed; Did I really not love my Dunya, did I not cherish my child; has she never had a life? ”, repeat:“ Ah, Dunya, Dunya! ”, as well as phraseological combinations:“ you cannot get away from trouble ”,“ what is destined, that cannot be avoided ”.
Vyrin accepted the escape of Dunya Samson as a real grief, blaming himself, first of all, for his gullibility. He blames himself for not seeing the "bewilderment" on Dunya's face. “What are you afraid of? - her father said to her, - because his nobleness is not a wolf and will not eat you: take a ride to the church. Dunya sat down in the wagon next to the hussar, the servant jumped on the bed, the driver whistled, and the horses galloped off. The poor caretaker did not understand how he himself could have let his Duna ride with the hussar, how he was blinded, and what then happened to his mind. Pushkin describes in detail the unfortunate father's fruitless attempts to find his daughter: “Within half an hour, his heart began to ache, ache, and anxiety seized him to such an extent that he could not resist and went to Mass himself. Approaching the church, he saw that the people had already dispersed, but Dunya was neither in the fence nor in the porch. He hurriedly entered the church: the priest was leaving the altar; the deacon was putting out the candles, two old women were still praying in the corner; but Dunya was not in the church. Poor father forcibly decided to ask the sexton if she was at mass. The sexton answered that he had not been. " All his actions convey the strongest internal excitement: “his heart began to ache,” “anxiety took possession of him,” “he could not bear it and went to mass himself,” “hastily entered the church,” “made up his mind.”
The words of the driver about Dunya's escape seemed to Samson Vyrin as a sentence: "Dunya from that station went further with the hussar." And even the fact that Dunya cried when she left could not console her father. " Father, just as Prostakova is blind in his love, he does not fully understand the character of the "young coquette." Vyrin is satisfied with their kind, warming relationship, and therefore the caretaker does not even think about what his daughter wants. If in the works analyzed above, by the will of their children, fathers are doomed to wandering as exiles from their homes, in The Station Keeper, the father voluntarily goes after his “lost sheep”.
The first attempt to find a daughter was unsuccessful. Dunya's wealthy fiancé tried to bribe the old man, and Samson Vyrin himself, disregarding the persuasion, begs to let the fugitive go: “The old man's heart began to boil, tears welled up in his eyes, and he said in a trembling voice only:“ Your Excellency! .. do such a divine favor! .. Minsky glanced at him quickly, flushed, took his hand, led him into the study and locked the door behind him. “Your Excellency! - continued the old man, - what fell from the cart is gone; Give me at least my poor Dunya. After all, you are amused by it; do not ruin her in vain. " “What has been done cannot be undone,” said the young man in extreme confusion, “I am guilty before you and I am glad to ask your forgiveness; But do not think that I could leave Dunya: she will be happy, I give you my word of honor. Why do you need her? She loves Me; she lost the habit of her previous state. Neither you nor she - you will not forget what happened. " Then, thrusting something into his sleeve, he opened the door, and the inspector, himself not remembering how, found himself on the street. "
Dunya's relationship with her father ends so abruptly that she does not even participate in the explanation. The author skillfully paints a portrait of an unfortunate old man who was driven away: “For a long time he stood motionless, at last he saw a roll of papers behind the cuff of his sleeve; he took them out and opened several crumpled five- and ten-ruble banknotes. Tears again welled up in his eyes, tears of indignation! He squeezed the pieces of paper into a ball, threw them on the ground, stamped on his heel and walked away ... After walking a few steps, he stopped, thought ... and returned ... but the banknotes were gone. " The old caretaker does not hear Minsky's cruel but reasonable arguments. It is noteworthy that the abandoned old man will never agree to take a ransom for the daughter he has taken away.
In the second, the abandoned father still managed to see his daughter, however, she could not bear the guilt before Samson Vyrin and lost consciousness from excitement.
The old man did not bother happy Dunya anymore, worrying only about the fact that she might be abandoned by the groom: “For the third year now,” he concluded, “how I live without Dunya and how there’s no rumor or spirit about her. Whether she is alive or not, God knows her. Anything happens. Not her first, not her last, was lured away by a passing rake, and there he held, and even threw. There are a lot of them in Petersburg, young fools, today they are in satin and velvet, and tomorrow, you will see, they sweep the street together with the bar of the tavern. How do you sometimes think that Dunya, perhaps, disappears right there, so against your will you sin and wish her grave ... ”In these bitter words of the old man, we feel not only inescapable grief, but also love that overcomes resentment and disappointment. Even drunk, Vyrin worries about the fate of his fugitive.
The plot with the prodigal son read in the subtext implies the return of the “child” to the “father”, but it never happened. Dunya was never able to ask for forgiveness in front of Samson Vyrin, for he did not wait for his daughter. The "lady" arrives after the death of the old man, but her visit, her sobs at her father's grave can no longer correct anything. The boy-guide recalls: “She lay down here and lay for a long time. And there the lady went to the village and called for the priest, gave him money and went, and she gave me a nickle in silver - a glorious lady! "
The difference from the previous works is that the daughter left her father, not understanding the pain she was causing him, she did an act without malicious, selfish intent.
NN Petrunina in her work "The Prose of Pushkin" substantiated the ending of the story: "neither joy, nor grief drowned in the soul of the" beautiful lady "the consciousness of her daughter's guilt<…> in the soul of the heroine the higher, human principle is alive<…> she managed to preserve a healthy moral grain, rise to a conscious sense of guilt and duty to the departed. " To which the literary critic Alexander Bely, already known to us, replies: “It's amazing how sophistication the recognized Pushkin scholar avoids the simple word“ conscience ”to characterize the daughter’s sense of guilt before her abandoned father, which is equally simple and clear in nature. The very pathos of such a lofty speech testifies to the fact that our modernity has not invented a term to express the "conscious sense of guilt and duty." And on this issue I share the opinions of both authors. Indeed, Dunya felt a sense of filial guilt, she cannot be called callous. We can see this in the denouement of the story, but A.S. Pushkin (which A. Bely proves in his work) does not call the return to his father's grave an attack of conscience. Most likely it's just a feeling of guilt.
This is how Pushkin interpreted the image of the abandoned father in his own way, comparing it with the story of the prodigal son, thereby introducing a share of innovation in the theme of “fathers and children”.
Paustovsky's story differs from the three previous works that I have analyzed. Firstly, because the incarnation of representatives of the older generation in "Telegram" was the mother who did everything possible for her daughter, brought her up to be a deep, sympathetic other person, and remained Nastya's friend for a long time. Secondly, Katerina Petrovna was not to blame for what happened (as, for example, in "King Lear", "Steppe King Lear" and "The Station Keeper"). Paustovsky in "Telegram" talks about an abandoned mother, whose daughter is so busy in Leningrad that she is unable to come and visit an elderly woman. And if in "King Lear", "Steppe King Lear" and "The Station Keeper" part of the blame lay with the parents, who had missed the education of their sons and daughters somewhere, then Katerina Petrovna can be called an ideal mother. She understood Nastya's busyness and did not write letters unnecessarily, arguing, “Nastya is not up to her now, old women. They, the young, have their own affairs, their own incomprehensible interests, their own happiness. Better not to interfere. Therefore, Katerina Petrovna wrote to Nastya very rarely, but she thought about her all the days ... "
The author shows the mother's helplessness, her need for a loved one, an assistant: “It has become even more difficult for Katerina Petrovna to get up in the morning and see all the same: the rooms where the bitter smell of unheated stoves has stagnated, the dusty Vestnik Evropy, yellowed cups on the table are long gone a cleaned samovar and pictures on the walls.
Katerina Petrovna could not even utter a word when she was asked about Nastya, so strong were the maternal feelings, so great was the pain of the woman's abandoned daughter: “- Can't hear, Katerina Petrovna, is Nastya writing what or not?
Katerina Petrovna was silent, sitting on the sofa - hunched over, small - and was still going through some pieces of paper in a red leather reticule. Tikhon blew his nose for a long time, stomped on the threshold.
Well, well, he said without waiting for an answer. "I think I'll go, Katerina Petrovna." The people around her sympathize with the main character and are afraid of questions about Nastya.
The daughter, having become needed by those around her, helping creative people in Leningrad, considered it necessary that for an almost helpless mother a monthly postal order once a month would be enough and, being busy, attributed to this a couple of words about the lack of time. The author notes: “Nastya, the daughter of Katerina Petrovna and the only family member, lived far away, in Leningrad. She last came three years ago. There were no letters from Nastya either, but once every two or three months the cheerful young postman Vasily brought Katerina Petrovna a translation for two hundred rubles. He carefully held Katerina Petrovna's hand when she signed, so as not to sign where it was not necessary. Vasily was leaving, and Katerina Petrovna sat, confused, with money in her hands. Then she put on her glasses and reread a few words on the mail order. The words were all the same: so many things to do that there is no time not only to come, but even to write a real letter ”.
The abandoned mother did not blame her daughter, loving her with all her heart, hoping for a meeting, clinging to every thread of her memory: “Katerina Petrovna was carefully going through the plump papers. From old age she forgot that this money was not at all the same as Nastya had in her hands, and it seemed to her that the money smelled like Nastya's perfume.
The behavior of Nastya seemed terrible, scary to me when she received a letter from her mother. An unopened, unread and happily forgotten letter becomes a symbol of oblivion. “Nastya received a letter from Katerina Petrovna at the service. She hid it in her purse without reading it - she decided to read it after work. Katerina Petrovna's letters evoked a sigh of relief in Nastya: since her mother writes, it means she is alive. But at the same time, a dull anxiety began from them, as if each letter was a silent reproach.
After work, Nastya had to go to the studio of the young sculptor Timofeev, see how he lives, in order to report this to the board of the Union. Timofeev complained about the cold in the workshop and, in general, that he was being rubbed and not allowed to turn around. "
But in this letter Katerina Petrovna, in need of care and attention, begged her daughter to come and say goodbye to her sick, weakened mother: “My beloved,” wrote Katerina Petrovna. - I won't survive this winter. Come just for a day. Let me look at you, hold your hands. I became old and weak to the point that it’s hard for me not only to walk, but even to sit and lie down — death has forgotten the way to me. The garden is drying up - it’s not at all the same - and I don’t see it. Autumn is bad today. So hard; my whole life, it seems, has not been as long as this one autumn ”.
Her daughter's heart did not flinch, she could not understand the seriousness of the words written on paper, more important now were exhibitions and artists, and not the old, sick mother: “Where to go there now! - She said and got up, - Can you get out of here! "
Awareness of the mistake comes too late, as in the three works analyzed above, the death of an abandoned parent is inevitable: “Nastya shuddered from the cold and suddenly realized that no one loved her as much as this decrepit old woman abandoned by everyone, there, in the boring fence. "Late! I will never see my mother, ”she said to herself, and remembered that for the last year she had uttered this cute childish word for the first time -“ mother ”.
Indeed, Nastya was late. Her feelings of remorse are compounded by her inability to attend the funeral. Only then does the daughter understand that she had no one closer and dearer to her mother, she realized what the fault lies with her: “Nastya arrived in Zaborye on the second day after the funeral. She found a fresh grave mound in the cemetery - the earth on it was frozen in lumps - and the cold dark room of Katerina Petrovna, from which, it seemed, life had gone a long time ago.
In this room, Nastya cried all night, until a dull and heavy dawn turned blue outside the windows.
Nastya left the Zaborye stealthily, trying so that no one saw her and did not ask about anything. It seemed to her that no one, except Katerina Petrovna, could remove irreparable guilt, unbearable severity from her.
Paustovsky tells the story of the "abandoned father" in his own way, emphasizing the peculiarities of the relationship between mother and daughter. The breakdown of the bond of close people is a much greater blow for both than the break between the father and the child (as in Pushkin, Shakespeare, Turgenev). There was both blood and spiritual connection between mother and daughter. Nastya, not wanting this, but nevertheless, through her own fault, broke off the trusting relationship, without thinking about the consequences. Analyzing the works, I noticed differences in the depiction of the farewell of “fathers and children. In King Lear, the reader first learns about the death of Goneril, and then about the death of Lear, who could not hold back the cruel blow of fate. Shakespeare writes: “Look, sir! You see? Look at your lips! You see? Take a look at her! (Dies.). ”“ King Lear of the Steppe ”Turgenev ends with a scene of Kharlov's fall from the roof, adding intrigue with a short monologue of farewell to his daughter. : "I mean ...". Pushkin, drawing a parallel in his work with the story of the prodigal son, tells about Dunya's return to his father's grave, making it impossible to say goodbye: “She lay here and lay for a long time. And there the lady went to the village and summoned the priest ... ”Paustovsky describes the scene in the cemetery in more detail, thereby emphasizing the significance of this event for himself. The writer draws our attention to Nastya's repentance, it is not for nothing that the girl's actions are so quick. "Nastya left Zaborye stealthily, trying so that no one would see her or question her about anything."
2.5. Mutual understanding and sensitivity in relationships as a new facet of the development of the topic (M.N. Karamzin "Poor Liza", A.S. Green "Scarlet Sails")
Often, the authors in their works not only describe the tragedies associated with the relationship between "fathers and children", but also tell about the sensitivity shown by representatives of two generations. Thus, writers master the versatility and immensity of the topic.
The first work in which the theme received such a sound was Karamzin's story "Poor Liza".
Karamzin in the story "Poor Liza" reveals the theme, telling about the relationship of a mother and daughter, whose husband and father died, leaving the entire household on women.
After the onset of poverty, Lisa understood that now she was the only breadwinner, and everything needed to be done to provide for herself and her mother. Karamzin reflects: “Only Liza, who remained after her fifteen-year-old father, - Liza alone, not sparing her tender youth, not sparing her rare beauty, worked day and night - weaving canvases, knitting stockings, picking flowers in the spring, and taking berries in the summer - and sold them in Moscow. "
There was a trusting relationship between the daughter and mother (whom the author does not name by name), which cannot but speak of mutual understanding and sensitivity. The author also shows in an excerpt the life lessons the old woman gave to the young girl. The mother worries about her daughter, asking God to protect her: “Liza, having come home, told what happened to her. "You did well that you did not take the ruble. Maybe it was some bad person ..." - "Oh no, mother! I don't think so. He has such a kind face, such a voice ..." - " However, Liza, it is better to feed on your labors and not take anything for free. You still do not know, my friend, how evil people can offend a poor girl! My heart is always out of place when you go to town; I always put a candle in front of the image and I pray to the Lord God that he will save you from all misfortune and misfortune. "
Throughout the entire work, we can see the caring, concern of the characters for each other, we read about this in their reflections: "Finally, Lisa remembered that her mother could worry about her."
We can learn about Lisa's insincerity with her mother from an episode in the girl's house after a night date. Karamzin writes: "He loves me!" - she thought and admired this thought. "Ah, mother!" Liza said to her mother, who had just woken up. "Ah, mother! What a wonderful morning! How fun everything is in the field!"
A conflict between a peasant woman and her daughter arises when it comes to a wedding. Liza, loving Erast, does not want to marry another, but at the same time understands what a blow it will be for the old mother. “Cruel! Can you ask about this? Yes, I am sorry for mother; she cries and says that I do not want her peace of mind, that she will suffer at death if she does not marry me to her. Oh! Mother does not know that I have such a dear friend! "
The denouement of the work is sad. Lisa dies by throwing herself into the water. One can imagine the feelings of the mother when she learned about Lisa's terrible sin. The old woman could not hold back such a blow of fate. “Liza’s mother heard about the terrible death of her daughter, and her blood cooled with horror - her eyes closed forever. The hut is empty. " Let's not forget that Karamzin's story is a work of a sentimental direction, so the denouement may seem somewhat exaggerated. However, a similar ending is observed in the realistic works that I have considered in this section. This confirms that the rupture of relations between "fathers and children" often ends not only with a moral blow, but also with physical death.
A more complete picture of trust, sensitivity and mutual understanding between parents and children can be obtained by analyzing the work of Alexander Green "Scarlet Sails".
The relationship between "fathers and children" often depends on how much effort the former make to bring up the heirs. The harmony of sensations comes if you deal with the youth from birth, which is confirmed by the episode: "Dead, Longren bent down and saw an eight-month-old creature gazing intently at his beard, then sat down, looked down and began to twist his mustache."
Caring for a child is an integral part on the path to mutual understanding, especially if caring is associated with self-sacrifice, which we observe in the episode where the author describes the life of little Assol and her father. “Longren went to the city, said goodbye to his comrades and began to raise little Assol. Until the girl learned to walk firmly, the widow lived with the sailor, replacing the orphan's mother, but as soon as Assol stopped falling, bringing her leg over the threshold, Longren decisively announced that now he would do everything for the girl himself, and, thanking the widow for her active sympathy, he healed the lonely life of a widower, concentrating all thoughts, hopes, love and memories on a little creature. "
Male upbringing differs from female upbringing, especially when it comes to the upbringing of a girl, but the main character of the extravaganza successfully copes with the role of a father, as evidenced by the words of the author: “He also did all the housework himself and patiently went through the complex art of child propagation, unusual for a man.”
The following lines testify to Longren's quivering love for the little girl: “Assol was already five years old, and her father began to smile softer and softer, looking at her nervous. Good face when, sitting on his lap, she worked on the secret of a buttoned waistcoat or humorously hummed sailor songs.
The close relationship between father and daughter was influenced by the unenviable position of the family in the eyes of others. Alienation not only left a mark on the girl's soul, but also deprived her of her peer friends, making her the only friend of her father. “The Menners case reinforced the previously incomplete alienation. Having become complete, it caused a strong mutual hatred, the shadow of which also fell on Assol. The girl grew up without friends. Two or three dozen children of her age, who lived in Kaperna, soaked like a sponge with water, a rough family beginning, the basis of which was the unshakable authority of mother and father, receptive, like all children in the world, once and for all deleted little Assol from the sphere of their patronage and attention. This happened, of course, gradually, by means of suggestions and shouts of adults, it acquired the character of a terrible prohibition, and then, strengthened by gossip and rumors, it grew in children's minds with fear of the sailor's house.
Assol's affection knew no bounds, she shared her father's hobbies, loved to listen to stories about ships and the sea: “Assol's favorite entertainment was in the evenings or on a holiday, when his father, putting down the jars of paste, tools and unfinished work, sat down, taking off his apron, to rest, with a pipe in his teeth - climb onto his lap and, spinning in the gentle ring of his father's hand, touch the various parts of the toys, asking about their purpose. Thus began a kind of fantastic lecture about life and people - a lecture in which, thanks to Longren's former way of life, accidents, chance in general - strange, amazing and extraordinary events were given the main place.
One of the fruits of the father's painstaking upbringing was the daughter's choice of a future occupation. Assol had a desire to imitate dad. The people around him knew about this, so they told the travelers: “I,” he says, “want to contrive so that the boat itself floated on my board, and the rowers would really row; then they stick to the shore, give the berth and honor-honor, as if alive, sit on the shore to have a snack. "
Assol understood her father's feelings better than anyone, letting Manners' grief and happiness through herself. Greene writes: “She was so upset that she could not speak right away, and only after she saw from Longren's anxious face that he was expecting something much worse reality, she began to tell, running her finger along the glass of the window where she stood, absentmindedly watching the sea. "
Father's concern for his daughter is evident in every line of Manners. Even when he thinks about the upcoming sea voyage: “All this is so, but a pity, really, a pity. Will you be able to live without me during one flight? It is unthinkable to leave you alone. " Another fragment that tells about unparalleled care and love. The author writes: “That night he thought about the future, about poverty, about Assol. It was extremely difficult for him to leave her, even for a while; moreover, he was afraid to resurrect the abated pain. "
Thus, Alexander Green brings a share of innovation to the development of the theme of “fathers and children”, showing a new facet of relationships based on trust and love for each other.
Unlike Green, Karamzin finishes the work differently. Describing the deaths of a mother and daughter, he brings some innovation to the development of the theme of "fathers and children." The differences in the denouement are associated with the peculiarities of the literary trends in which the authors worked. If Green is a romantic writer who tells about ideal, cloudless relationships, then Karamzin, a sentimentalist, describes the feelings of the heroines more deeply.
2.6. The motive of filicide as a terrible denouement of antagonism in the works (N.V. Gogol "Taras Bulba", P. Marime "Mateo Falcone")
Starting the story about the motive of filicide, it should be noted that the authors gradually lead to a terrible outcome, first telling about the events preceding the tragedy.
N.V. Gogol in the story "Taras Bulba" reveals a new facet in relation to "fathers and children", describing them as strictly military. This is not surprising, given that Ostap and Andrii were brought up as a brave Cossack. We can learn about Taras's upbringing manners from the first chapter, where Gogol writes about the brothers' return from school: “- Turn around, son! How funny you are! What are these priests' cassocks on you? And so does everyone go to the academy? - With these words old Bulba greeted his two sons, who studied at the Kiev school and came home to their father. - Don't laugh, don't laugh, dad! the eldest of them said at last. - Look how magnificent you are! Why not laugh? - Yes, even though you are my dad, but as you laugh, then, by God, I will beat you! - Oh, you, such a son! How, dad? .. - said Taras Bulba, retreating with surprise a few steps back.
Yes, even though dad. I will not look for an insult and will not respect anyone.
How do you want to fight with me? fists?
Yes, on anything.
Well, let's get fists! - Taras Bulba said, rolling up his sleeves, - I'll see what kind of person you are in your fist! And father and son, instead of greeting after a long absence, began to thrust cuffs into each other's sides, lower back, and chest, now retreating and looking around, now advancing again! " In this fragment, one can learn not only about the character and manner of Bulba's upbringing, but also about the character of one of the sons.
The reader learns about the peculiarities of the upbringing of the Cossacks from Balba's remarks. “Eh, you are a daub, as I see! - said Bulba. -Don't listen, son, mothers: she's a woman, she doesn't know anything. What is your tenderness? Your tenderness is pure a field and a good horse: here is your tenderness! Do you see this saber? here is your mother! "
The main decision on the way to the culmination of the work is the fateful decision to send the sons to the Sich: “But, better, I will send you to Zaporozhye the same week. Here where is science so science! There is a school for you; there you will only get some reason. "
Often Gogol directly writes about Taras' pride in his sons: “Bulba, on the occasion of the arrival of his sons, ordered to call all the centurions and all the regimental ranks who were present; and when two of them came and the esaul Dmitro Tovkach, his old friend, he immediately introduced his sons to them, saying: "Look, what fellows! I will send them to the Sich soon." Guests
they congratulated both Bulba and both young men and told them that they were doing a good deed and that there was no better science for a young man like the Zaporozhye Sich ”. “Now he consoled himself in advance with the thought of how he would appear with his two sons at the Sich and say:“ Look, what fellows I have brought to you! ”; how he will present them to all old, battle-hardened comrades; how he would look at their first exploits in military science and martyrdom, which he also considered one of the main virtues of the knight.
There were no obvious conflicts between Taras, Ostap and Andriy. Relatives preferred to be silent, hiding their thoughts. "See, what a daddy!" Thought the eldest son, Ostap to himself, "everything is old, the dog knows, but also pretends to be."
The father was proud of his sons, predicting a great military future for them. Moreover, both Ostap and Andriy delighted Taras with success. Gogol writes: “- Oh! yes this one will in time be a good colonel! - said old Taras. - She-she, there will be a kind colonel, and even such that the daddy will plug in his belt! " “More than once, father also marveled at Andriya, seeing how he, urged only by a passionate enthusiasm, aspired to something that would never have dared cold-blooded and reasonable, and with one mad onslaught he produced miracles that battles "
However, Bulba could severely punish the offender for his misdeeds, which one of the sons feared, realizing that he was violating the established order. “- Andrii! - said old Bulba as he passed him. His heart sank. He stopped and, all trembling, quietly said ... Andrii stood neither alive nor dead, not having the spirit to look his father in the face. And then, when he raised his eyes and looked at him, he saw that old Bulba was already sleeping with his head on his palm.
Bulba raised his sons in austerity, respecting the laws of the Cossacks. For his father, treason was unacceptable to his relatives, comrades-in-arms, the Motherland, so the idea of \u200b\u200bdesertion could not come to his mind, which is clearly seen in the conversation between Bulba and the Jew. to them. - You're lying, you damn Jew! There was no such thing on Christian soil! You are confusing, dog! "
After the news of the betrayal, Taras had doubts, and the only hope, joy was the eldest son, Ostap, who was making great strides in military affairs. “Old Bulba looked around to see what kind of new chieftain there was, and saw that in front of all the Umanians sat on a horse Ostap, and his cap was folded to one side, and the chieftain's club in his hand. "See what you are!" he said, looking at him; and the old man rejoiced, and began to thank all the Umans for the honor shown to his son. "
The culmination of the story is a scene in the forest when Taras kills his traitorous son. This episode perfectly describes the feelings that both feel at the moment of meeting. Gogol was able to convey, through dialogue and various digressions, the state of father and son: “So a schoolboy, inadvertently lifting his comrade up and receiving a blow from him with a ruler on the forehead, flares up like fire, frantically jumps out of the shop and chases after his frightened tear it apart; and suddenly bumped into a teacher entering the class: a furious impulse instantly subsides and powerless rage falls. Like him, in an instant the anger of Andriy disappeared, as if it had not happened at all. And he saw before him only one terrible father.
Well, what are we going to do now? - said Taras, looking straight into his
eyes. But Andrii did not know anything to say and stood with his eyes buried in the ground. “What, son, did your Poles help you? Andrii was unanswered. - So sell? sell faith? sell yours? Wait, get off your horse! Obediently, like a child, he dismounted from his horse and stood neither alive nor dead before Taras. - Stop and don't move! I gave birth to you, and I will kill you! - said Taras and, stepping back a step, took off the gun from his shoulder ... The sonicide stopped and looked for a long time at the lifeless corpse.
Bulba feels completely differently when he sees another son on the square before the execution. In this episode, the author tries to convey to us the tension that prevailed at that moment, using rhetorical questions: “What did old Taras feel when he saw his Ostap? What was then in his heart? He looked at him from the crowd and did not utter a single movement of him. They have already approached the place of execution. Ostap stopped…. - Good, son, good! - Bulba said quietly and set his gray head in the ground "
Gogol was able to show two different sides of the relationship between "fathers and children", where, in the first case, filicide as a punishment for a committed sin, and in the second - worrying about his son, who died in the name of the Motherland and partnership, sharing the father's opinion.
The next writer to embody the motive of filicide was Prosper Marime in the short story "Matteo Falcone".
This work culminates in the moment when Matteo Falcone learns of Fortunato's betrayal. It was then that the father had the idea of \u200b\u200bkilling his own son. Marimee portrays Falcone as a taciturn, thoughtful man who does not succumb to a second's weakness, but prefers to ponder important decisions: “- So, this child was the first in our family to become a traitor. Fortunato's sobs and sobs intensified, and Falcone still kept his trotting eyes on him. Finally he hit the ground with the butt and, throwing the gun over his shoulder, walked down the road to the poppies, ordering Fortunatto to follow him. The boy obeyed. "
The moment of filicide in the novel is presented in the same way as in the novel "Taras Bulba" in the form of a dialogue, from which one can see the composure of Matteo Falcone, Fortunatto's unwillingness to die and his fear of his father. Prosper Marime pays special attention to the moment of forgiveness of sin: “- Fortunato! Stand by that big stone. Following his orders, Fortunato fell to his knees. - Pray! - Father! Father! Do not kill me! - Pray! repeated Matteo menacingly. Haltingly and crying, the boy read "Our Father" and "I Believe." At the end of each prayer, the Father firmly pronounced "amen." “You don’t know prayers anymore?” - Father! I also know "Theotokos" and the litany which my aunt taught me. - It's very long ... Well, anyway, read it. The boy finished the litany quite soundlessly. - Have you finished? - Father, have mercy! Forgive me! I will never again! I will ask uncle
corporal to have Giannetto pardoned! He babbled something else; Matteo raised his gun and, taking aim, said: - God forgive you! Fortunato made a desperate effort to get up and fall at his father's feet, but did not have time. Matteo fired and the boy fell dead "
The ending of the novel forces readers to reflect on the theme of duty and justice. “Before he had time to walk a few steps, he saw
Giuseppa: she ran, alarmed by the shot.
What did you do? - she exclaimed.
Has done justice.
In a ravine. I'm going to bury him now. He died a Christian. I will order by
him a requiem. I must tell my son-in-law, Theodore Bianchi, to move in with us
2.7. The death of a father is a variant of the moral punishment of his son for betrayal in the story "Little Spy" by Daudet
In the beginning of the work, we learn about the fate of the boy: "His mother died, and his father, a former Marine Corps soldier, was guarding the park in the Temple quarter." Analyzing these lines, one can immediately understand about the trusting relationship between father and son.
Describing the appearance of the pope, the author pays special attention to his stern appearance. In contrast, he looks when asked about his beloved son: “Everyone knew Uncle Stan and literally adored him. Each of them knew that behind his harsh mustache - the thunderstorm of stray dogs - there is an affectionate, almost motherly smile, and to evoke it, one has only to ask this kind-hearted man: -How is your boy doing? And Uncle Sten loved his son! How happy he was when in the evening, after school, the boy came for him and they walked around the alleys together ... "
Expressing the idea of \u200b\u200bthe story, Daudet emphasizes Uncle Sten's hatred of his opponents: “… and I met my boy late at night at home. You should have seen his mustache when he talked about the Prussians! .. And as for the little Sten, he was not too burdened by his new way of life. "
The writer also expresses his opinion about the boy's actions through the thoughts of one of the heroes: “I would rather die than see that my son is engaged in such things ...” In this quote, the attentive reader can see the connection with the author's position with the ending of the story.
The father's trust in the boy can be traced throughout almost the entire story, but it is especially noticeable in this episode. The old soldier asks: "What, sonny, if you were big, after all, you would go to fight with the Prussians?"
The climax of the story is the episode of the boy's remorse before the Wall. “The price of all this blood is hidden under his pillow, and the fault was he, the son of Sten, a soldier ... Tears choked him. And in the next room my father walked back and forth, opening the window.<…>The boy burst into tears. -What's the matter? - entering the room, asked Uncle Sten. Then the boy could not stand it, jumped out of bed and threw himself at his father's feet. From the sudden movement, all his ecu scattered on the floor.
In conclusion, Daudet pays special attention to the emotions of the protagonist, describing his reaction to what is happening: "The old man listened in silence, but his expression was terrible."
The denouement of the piece is Wall's decision to leave the house. “After listening to the end, he put his head around his hands and began to cry. `` Dad, dad! ... '' muttered the boy. The old man pushed him away and silently collected the money. -It's all? -he asked. The boy nodded his head. The old man took off the gun, the cartridge bag from the wall and put the money in his pocket. “All right,” he said. “I'll return them to the Prussians. And without adding a word, without even turning his head, he left the house and joined the mobiles, which gradually disappeared into the darkness. Since then he has not been seen again. " Thus, Daudet presents in the story the death of his father as a variant of the moral punishment of the father to his son for his betrayal.
Drawing an analogy with "Taras Bulba", one can notice the difference in the actions of the fathers after the betrayal. Most likely, this behavior is due to the nature of the era in which the events of the works unfold. If Taras Bulba is a Zaporozhye Cossack, raising children according to the laws of the Sich, who does not accept the betrayal of the Motherland and mortally punishes his apostate son, then Uncle Sten is a father who doted on his son, a man unable to kill his child. But the moral punishment that is in store for his child-traitor is no less terrible than physical death, which means that he is not capable of punishment.
2.8. Portrayal of the heroes' difficult path to understanding in Aldridge's story "The Last Inch"
On the pages of the works analyzed above, one can see the already established relationship between "fathers and children", but in Aldridge's story "The Last Inch", the reader observes the germs of understanding between dad and boy.
In the exposition, the author shows the state of an orphan child with living parents: “... at the age of ten I felt that the mother was not interested in him, and the father was an outsider, harsh and laconic, not knowing what to talk to him about in those rare moments when they been together. " From the description, we begin to understand what kind of relationship developed between Ben and Devi.
The reader learns about the upcoming journey of father and son, which, according to Aldridge, should help the heroes go a long way from misunderstanding to agreement.
Much of the blame in the current relationship lies with Ben, who, due to the strong character of a courageous person, does not know what a boy might want. The author notes: “Ben did not know how to comfort his son, he told the truth: If the car is not monitored and checked all the time, it will certainly break down. The boy lowered his head and began to cry softly.
Throughout the story, we can observe the hidden inner monologues of the protagonist, often expressing dissatisfaction with the child.
Aldridge tells about the past of the family, which also influenced the formation of misunderstanding: “Ben regretted taking his son with him. In their family, generous impulses always ended in failure: both of them were like that - a dry, tearful, provincial mother and a sharp, irascible father. During one of the rare bouts of generosity, Ben once tried to teach the boy to fly a plane, and although the son was very understanding and learned the basic rules pretty quickly, every shout from his father brought him to tears ... "
The reader especially notices the hero's neglect of his son in the episode of landing on the island. “Ben flew here because of the sharks, and now, when he got to the bay, he completely forgot about the boy and from time to time only gave him orders: help with unloading, bury a bag of food in wet sand, moisten the sand, watering it sea \u200b\u200bwater, provide tools and all sorts of little things needed for scuba gear and cameras. "Ben was too busy to pay attention to what the boy was saying, but he shook his head when he heard the question."
One of the reasons for this relationship was the pilot's conflicts with his ex-wife. The author reports: “Ben suddenly felt that he was talking to the boy as he was talking to his wife, whose indifference always caused him to be harsh, imperative. No wonder the poor kid shuns both of them. ” Inattention to his son is also manifested in two other episodes, when Ben either “forgets about his existence” or “did not even think about it”. Aldridge notes: “It was only then that he noticed that a boy was standing over him. He completely forgot about its existence and did not bother to explain to whom these words refer. " Ben didn't even think about his son. As always, he brought a dozen bottles of beer with him from Cairo: it was cleaner and safer for the stomach than water. But I had to take something for the boy as well.
Aldridge conveys the father's unwillingness to communicate with his son with the help of details: “- I say no! - answered the father with irritation. But suddenly I realized, although it's too late, that Davy is not worried about the possibility of getting caught, he is simply afraid to be left alone. " The first thought of the father about the boy is the discussion about the further fate of both after the episode with the shark. “But then I realized that something had to be done: if he dies, the boy will be left alone, and it's scary to even think about it. This is even worse than his own condition. The boy will not be found in time in this scorched-out land, if he is found at all. "
Despite the indifference of his father, the son loved him, so after the disaster he began to follow all the instructions. Aldridge writes: "... the son's pale face was contorted with horror, but he with the courage of despair tried to fulfill his task." The reader observes the transition to a new stage of relationships in the following episode: “You, poor fellow, will have to do everything yourself, it just so happened. Don't be upset if I yell at you. There is no time for resentment. Don't pay attention to that, okay? "
Recognizing the "new Devi" is the culmination of the story "The Last Inch". The writer notes: “Ben's tone surprised him: he never heard protest in the boy's voice, much less anger. It turns out that the son's face could hide these feelings. Is it really possible to live with your son for years and not see his face? But now he couldn't afford to think about it. Now he was fully conscious, but the bouts of pain were breathtaking. "
The development of mutual understanding is recorded in the episode where the author again describes the thoughts of his father on the plane: “- Your old man is unstuck, eh? - Ben said and even felt a slight pleasure from such frankness. Things were going well. He groped his way to the boy's heart. - Now listen ... “Nice guy! Ben thought. "He hears everything."
The main place in the development of the relationship between “fathers and children” in this story is occupied by the author's reflections on the problem: “When Davy was brought in, Ben saw that it was the same child, with the same face that he had so recently seen for the first time. But the point was not at all what Ben saw: it was important to find out if the boy was able to see something in his father ”; Ben smiled. But what a sin to conceal, the old man really fell apart. Both of them need time. He, Ben, now needs all the life, the whole life that the boy gave him. But looking into those dark eyes, the slightly protruding teeth, this face so unusual for an American, Ben decided that the game was worth the candle. It's worth taking the time. He will get to the very heart of the boy! Sooner or later, but he will get to him. The last inch that separates everyone and everything is not easy to overcome if you are not a master of your craft. But being a master of your craft is a pilot's duty, and Ben was once a very good pilot. "
3. Conclusion
Analyzing the works of world fiction, in which the theme of "fathers and children" is revealed, I came to the conclusion that this problem is inexhaustible. Writers from different eras tried to portray the relations of generations in their own way, based on the principles inherent in the depicted time. Thus, many paths of the theme can be traced. "The Teaching of Vladimir Monomakh" reflects the indisputability of the advice of elders in the era of Kievan Rus. "Nederosl" describes Mitrofan Prostakov's disdain for his own mother. The charm of patriarchal relations between fathers and children is presented in Pushkin's stories "Snowstorm", "The Young Lady-Peasant". The eternal image of King Lear embodies the tragedy of his abandoned father in the works "King Lear", "Steppe King Lear", "Telegram", "Stationmaster". A new facet of the theme's development is the image of mutual understanding and sensitivity in the relationship between "fathers and children." The motive of filicide becomes a new perspective in the movement of the theme. The moral punishment for betrayal as an opposition to filicide is given in Daudet's story "The Little Spy". A key moment in the movement of the theme in Aldridge's story "The Last Inch" is chosen a long way to understanding between father and son.
While studying the problem using the example of these works, I came across a limited number of literary sources. It is customary to consider the relationship between generations mainly on the example of the novel by I.S. Turgenev "Fathers and Sons". However, my research proves the inexhaustibility and multidimensional nature of the topic, which is often considered by researchers too narrowly.
Attachment 1
Classification of remarks characterizing the attitude of Mrs. Prostakova and her son to various representatives of the figurative system.
| Ms. Prostakova |
Mitrofan |
|
| Subordinates |
"He, a thief, has tied him everywhere" - “And you, cattle, come closer. I didn't say i tell you, thief's mug, so that you let your caftan wider "- contempt for Trishka "Tell me, you fool, how will you justify yourself?" - dismissive attitude towards Trishka "What a bestial reasoning!" disrespectful attitude towards husband “How for what, my father! The soldiers are so kind. Until now since nobody touched the hair. Do not be angry, my father, that my freak missed you. He doesn’t know how to treat anyone. I was born so badly my father "- subservience to guests, disrespectful attitude towards husband “You're still, old witch, and you burst into tears. Go feed them with me, and after dinner immediately come here again "- "How! it's you! you, father! a guest our priceless! Oh, I’m an innumerable fool! Would it really be necessary to meet our dear father, on whom all hope is, who we have one, like gunpowder in an eye. Father! Forgive me. I'm a fool. I can’t understand "- subservience to guests “Ms. Prostakova. Are you a girl, are you a dog's daughter? Do I have in home, except your filthy hari, and there are no maids! Where is the stick? " lordly attitude towards Eremeevna “So you're sorry for the sixth, you beast? What diligence! " lordly attitude towards Eremeevna “Ancient people, my father! This was not the current century. Us taught nothing. It used to be that kind people would approach the priest, please, please, so that at least my brother can be sent to school. By the way? Dead man is light and hands and feet, the kingdom of heaven to him! Sometimes she would deign to shout: i curse the child who takes something from the bastards, and don't be the one Skotinin who wants to learn something "- subservience to guests |
“Well, say another word, old little bastard! I'll finish those! I i will complain to my mother again, so she will deign to give you a task in the way of yesterday ”- dismissive attitude towards Eremeevna “What are you, uncle? henbane overeat? I don’t know why you deigned to attack me "- misunderstanding of Skotinin's act "Shoot them and take them with Eremeevna" - dismissive attitude towards Eremeevna |
| “What, why do you want to hide from me? Here, sir, to what I have lived with your indulgence "- domineering attitude towards husband “This is how the Lord rewarded me with a hubby: he does not understand make out for yourself what is wide, what is narrow "- domineering attitude towards husband “Let me go! Let go, father! Give me to the face, to the face ... "- hatred for Skotinin |
“I called my father. I was pleased to say: immediately. Mitrofan. And now I walk like crazy. All this stuff in the night climbed. Ms. Prostakova. What rubbish, Mitrofanushka? Mitrofan. Yes, then you, mother, then father. Ms. Prostakova. How is it? Mitrofan. As soon as I begin to fall asleep, then I see that you, mother, deign beat the priest. Prostakov (aside). Well! my trouble! sleep in hand! MITROPHAN (straining). So I felt sorry. Mrs. Prostakova (annoyed). Whom, Mitrofanushka? Mitrofan. You, mother: you are so tired, beating the father "- neglect of father “Get out, uncle; get out "- hatred for Skotinin |
4 ... Bibliography
1) Bely A. "Belkin's Tale: the vicissitudes of conscience" / Bely A - M .: Moscow Pushkinist. IMLI RAS. 2009
2) Klyuchevsky V. O / Klyuchevsky O. V. –M .: Science 1974- T. 3.
3) Likhachev D.S. Introduction to reading monuments of ancient Russian literature / Likhachev D.S. M .: Russian way, 2004.
4) Nazarenko M. I. Types and prototypes in the comedy "Minor" / Nazarenko M. I. M .: Russian way, 1998
5) Petrunina N.N . Pushkin's prose / N.N. Petrunina
6) Uzhankov A.N. On the principles of building the history of Russian literature of the XI - the first third of the XVIII century / Uzhankov A.N. - M., 1996;
Problem fathers and children in Russian literature. People at all times were worried about the eternal problems of being: the problems of life and death, love and marriage, choosing the right path ... Everything changes in this world, and only universal human moral needs remain unchanged no matter what time is “in the yard”.
The problem of fathers and children (conflict and continuity of generations) has always existed, and now it remains relevant.
Naturally, this theme was reflected in many works of Russian classical literature: in the comedy "Minor" by Fonvizin, in "Woe from Wit" by Griboyedov, in the story "The Station Keeper", in "The Covetous Knight", in the tragedy "Boris Godunov" by Pushkin , in the novel "Fathers and Sons" by Turgenev.
"An apple does not fall far from an apple tree" - says an old Russian proverb. Indeed, each subsequent generation inherits from the previous not only material values, but also the basic worldview and life principles. When the principles developed by the "past century" are not accepted by the "present century", a generational conflict arises. This conflict is not always age-related. Sometimes it even happens that representatives of two different generations look at life in the same way. Let's remember Famusov. How he admires his uncle Maxim Petrovich! He fully shares his views, seeks to imitate him and constantly sets an example for young people, in particular Chatsky:
And uncle! What is your prince? what count?
Serious look, haughty disposition.
When do you need to help
And he bent forward ...
Shares the views of the older generation and Sophia. Isn't her attitude to Chatsky an indicator? Let us recall how Famusov reacts to his speeches denouncing the worthlessness, vulgarity and ignorance of the secular society: “Ah! Oh my God! he's carbonari! ... A dangerous man! " Sophia has a similar reaction: "Not a man - a snake." It is quite understandable why she preferred Molchalin, "dumb" and quiet, to Chatsky, who "knows how to laugh gloriously at everyone." "Husband-boy, husband-servant" - this is the ideal life companion for women of society: for Natalya Dmitrievna Gorich, and for Princess Tugoukhovskaya, and for the Countess-granddaughter, and for Tatyana Yurievna, and for Marya Aleksevna ... And Molchalin is perfect for this role, the role of the impeccable husband:
Molchalin is ready to forget himself for others,
The enemy of insolence is always shy, timid
I kiss the night with whom you can spend this way! ..
He takes his hand, presses to his heart,
Sighs from the depths of his soul
Not a word of freedom, and so the whole night goes by,
Hand with hand, and he does not take his eyes off me ...
I must say that Molchalin also shares the views of the older generation, which helped him a lot in life. Adhering to the covenant of the father,
First, to please all people without exception -
The owner, where he will live,
The chief with whom I will serve,
To his servant who cleans the dress,
To a Swiss, a janitor to avoid evil,
To the janitor's dog, to be affectionate,
he achieved the rank of assessor, and became secretary of the Moscow "ace" Famusov, he is loved by a socialite. As a result, he became an irreplaceable visitor to all kinds of balls and receptions:
There the pug will stroke the pug in time,
Here he will rub the card.
Achieved "famous degrees", following his father's advice, and another, no less popular hero - Chichikov from Gogol's "Dead Souls". "Please teachers and bosses," his father told him. And what we see: Chichikov graduated from college with good grades, as he constantly flattered and grovelled in front of his teacher, achieved a promotion, caring for the boss's daughter. And the father's admonition "take care and save a penny" became for Pavel Ivanovich the main rule of life.
People from their parents, I must say, inherit not only bad, but also good. Let's remember Pyotr Grinev. His family had high ideas about honor and duty, so his father attached such great importance to the words: "Take care of honor from a young age." And as we can see, for Grinev honor and duty are above all. He does not agree to swear allegiance to Pugachev, does not make any compromises with him (refuses to give a promise that he will not fight against the rebels), preferring death to the slightest deviation from the dictates of conscience and duty.
The conflict between generations has two sides: moral and social. The social conflicts of his time were shown by Griboyedov in Woe from Wit and Turgenev in Fathers and Children. The "past century" does not want to recognize the "present century", does not want to give up its positions, standing on the path of everything new, on the path of social transformations. The conflicts between Chatsky and Famusov, Bazarov and Pavel Petrovich are not only moral, but also social in nature.
And one feature of these clashes should be noted: the younger generation differs from the old in patriotic views. This is clearly expressed in the accusatory monologues of Chatsky, who is full of contempt for the "alien power of fashion":
I sent the desires of the humble odal, but aloud,
So that the Lord destroy this unclean spirit
Empty, slavish, blind imitation,
So that he planted a spark in someone with a soul,
Who could by word and example
Hold us like a strong cart,
From pathetic nausea on the other side.
Bazarov, like Chatsky, is also a representative of progressive thinking youth. He accuses the "past century" of servility towards everything foreign, of contempt for the Russian. In the person of Pavel Petrovich, IS Turgenev portrayed a liberal by conviction with the features of a serf. He despises the common people: when speaking to the peasants, he "frowns and smells cologne." In the epilogue to Fathers and Sons, we see Kirsanov living abroad. On the table he has an "ashtray in the form of a peasant bast shoe" - this is all that connects him with Russia.
Serfdom, conservative views, fear of everything new, indifference to the fate of Russia - these are the main subjects of disputes between fathers and children, examples of which Russian literature gives us.
The moral side of the conflict is by its nature more tragic than the social one, because it hurts the soul of a person, his feelings.
Very often children, when they grow up and begin to live an independent life, pay less and less attention to their parents, and move away from them more and more.
In Pushkin's story "The Station Keeper" the daughter of the protagonist Dunya fled to St. Petersburg with a passing hussar. Her father was very worried about her, about her future. He wished Duna happiness in his own way. In this case, the conflict between father and daughter lies in different understandings of happiness.
Money, as you know, has a detrimental effect on the human soul. Under their influence, relationships between people, even between relatives, change. The thirst for money, the desire for profit, stinginess and constant fears for their capital - all this causes the impoverishment of the human soul and the loss of the most important qualities: conscience, honor, love. This leads to misunderstanding in the family, to the fragility of family ties. This was perfectly shown by Pushkin in The Covetous Knight: money separated the old baron and his son, stood in the way of their rapprochement, breaking the hope of mutual understanding and love.
So, as we can see, the problem of fathers and children found its fullest reflection in Russian classical literature, many writers turned to it, considering it one of the burning problems of the modern era. But these works are popular and relevant in our time, which indicates that the problem of relationships between generations belongs to the eternal problems of being.
The theme of "fathers and children" is heard in many works of Russian literature. So, in the comedy by A. Griboyedov "Woe from Wit" Alexander Chatsky is a representative of a new generation, and the hero himself says about the old: "I scolded your century mercilessly ...". Just like in Fathers and Sons, the generation of "children" comes into conflict with the generation of "fathers". It is difficult for them to understand each other, to compromise and change their views on life.
Each of the generations, one way or another, remains true to their beliefs. If Bazarov and Chatsky freely speak out about the burning problems of their contemporary era, the older generation in both works refuses to accept new views and believes that it is much better to live according to familiar and already established principles.
In AS Pushkin's story "The Captain's Daughter", the theme of "fathers and children" is shown differently. The attitude towards the older generation of Peter Grinev, one of the main characters of the work, is the opposite of how Bazarov and Chatsky treat the "fathers". Pyotr Grinev believes that he has no right to disobey his father and acts exclusively in accordance with the instructions of Andrei Petrovich. Father's words for Peter Grinev are the main life guide, help to remain a noble, honest and wise man. The hero always remembers how the priest said to him: “Farewell, Peter. Serve faithfully to whom you will swear; obey your superiors; do not chase after their affection; do not ask for their affection; do not dissuade from service; and remember the proverb: take care of your dress again, and honor from a youth "...".
The difference in attitude to Bazarov Nikolai Petrovich and Pavel Petrovich is explained by the difference in the characters and worldview of the two brothers. If Nikolai Petrovich shows some interest in the guest, then his older brother "hated Bazarov with all the strength of his soul." Nikolai Petrovich is by nature a "good fellow", as Bazarov called him in a conversation with Arkady. The youngest of the two Kirsanovs shows respect for the guest, looks at all his disagreements with his brother from a philosophical point of view, that is, he realizes the inevitability of a generational conflict that was, is and will always be. Pavel Petrovich behaves quite differently. He is not ready to change his views on life, which is why all his actions become more challenging, less natural, and he himself acquires an "overly aristocratic appearance" and demonstratively does not want to listen and understand his interlocutor. It should be noted that Bazarov himself treats the Kirsanov brothers in different ways. He perceives Nikolai Petrovich as a kind and good person, and Pavel Petrovich has always remained a little pleasant "aristocratic" for him.
Updated: 2018-03-11
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Useful material on the topic
- In what works of Russian literature does the theme of "fathers and children" sound and how are these works consonant (or opposite) to "Fathers and Children" by I.S. Turgenev?
Russian classics often addressed the problem of fathers and children in their works. It is not surprising, because this topic does not lose its relevance to this day. While people live on earth, there is a conflict between fathers and children, because time passes and generations change. The clash of completely different ideas influenced by the era often provides food for thought. Consider how some writers address the topic of fathers and children.
Speaks about the conflict of generations I.S. Turgenev. His novel Fathers and Sons is probably the most classic example of the clash of views of people of different generations. The novel clearly traces the line of relations between Evgeny Bazarov and Pavel Kirsanov, opposed to each other. The young boy claims that “nature is not a temple, but a workshop, and a person is a worker in it,” while Kirsanov, a representative of the previous generation, denies Bazarov's nihilistic views.
Pavel Petrovich ardently defends his point of view, trying to prove to Bazarov the illogicality and incorrectness of his judgments. In such a relationship, heated to the limit by a challenge to a duel, one can see a reflection of generational conflict. Thus, the interaction of Pavel Kirsanov and Evgeny Bazarov becomes an illustration of the problem of generations - the unwillingness to hear and listen to each other.
In what other works does the misunderstanding occur between the heroes of different generations? For example, in the play "Woe from Wit" by Griboyedov. The way of life and worldview of Alexander Chatsky is opposed to the "Famus society", whose representatives live by the foundations of the past. Chatsky says: “I would be glad to serve, it’s sickening to serve,” with this phrase he characterizes the values \u200b\u200bof “Famus society” and expresses his rejection of this principle of life. People of the past generation in the work "Woe from Wit" see the goal in life only in honoring, with the help of which one can achieve high status. Chatsky is even called "insane" when he demonstrates his morals, which are different from the past generation. Thus, the reader observes the clash of the outdated model of behavior of the "Famus society" with new trends presented in the image of Alexander Chatsky.
Sholokhov also touches upon the problem of fathers and children in his novel The Quiet Don. You can observe the conflict of generations in a particular episode. Panteley Prokofievich forces grandfather Grishaka to remove the military insignia issued during the times of imperial Russia, because "Under Soviet power it is impossible, the law forbids." However, Grishak's grandfather does not succumb to the general fear of the Red Army and remains true to his truth: "I did not swear allegiance to the peasants." Such an act of his grandfather does not approve of Panteley Prokofievich at all, for him such moral principles are outdated and have no weight. And you can't judge who is right and who is wrong: both people defend what is meaningful for themselves: honor and dignity, life. One thing is certain. Sholokhov in this episode perfectly shows the difference between the mores of generations.
Many more authors have addressed the problem of fathers and children: Pushkin, Ostrovsky, Fonvizin and others. And each approached this topic differently, highlighting aspects that were important to each of them. But the essence of the generational conflict remained unshakable. Alas, representatives of certain ideas almost always remain unconvinced that they cannot but sow discord between them. The only way we can prevent this problem in the future is to try to understand people of another generation and avoid the sad outcomes of the conflict, as in most works of Russian fiction writers.
