The summer of the Lord and the story of creation from the bumblebee. Homework for the lesson

L. Suvorova

"Summer of the Lord"

The artist, in search of spiritual support, returns to Christian Rus', to the Moscow of his childhood. The hero-narrator boy Vanya is an autobiographical character. In his father's house, the boy gets to know many people, he learns to distinguish between good and evil people, the righteous and the "sneakers". The author's style is emphatically lyrical, the story is imbued with moods of thanksgiving and tenderness.

The title of the book, "The Year of the Lord," is taken from the Gospel of Luke, which says that Christ came "to proclaim the acceptable Year of the Lord." The hero of the work feels his kinship with everyone, the unity of people, the spiritual and natural world. In a sense of belonging to the whole world, unity with it, according to Shmelev, is the most important feature of the Russian national character.

The book is in three parts, each of which spans about a year. First part is called "Holidays". Second“Holidays are joys.” Third- "Sorrow." In this part, the story, which began in May, ends on November 7 - the day of the "papa's" angel. The next day, Father Ivan Shmelev passed away.
However, the chronology in the book is not conducted according to the astronomical calendar, but according to the folk calendar, in which church holidays act as milestones. This calendar especially clearly shows the inseparable connection between the life of a Russian person and the life of nature: Orthodox holidays very often become holidays of labor: on the second Savior it is customary to pick apples, after the Assumption - to pickle cucumbers ... Awareness of the beauty and wisdom of the world order, faith in Sunday help the boy endure the sorrowful loss - the loss of his beloved father.

In the work, the talent of Shmelev, the artist of the word, was fully manifested: the descriptions of Moscow life, natural phenomena, and people are wonderful. The characters in Shmelev's books sprinkle proverbs, sayings, jokes, sing songs, observe Orthodox rites. The culture of Russian Orthodoxy organically enters the figurative fabric of the writer's book.

"Summer of the Lord"
The country we have lost. People

The image of Ivan Shmelev's father is a sample of practically perfect man . It is always young, handsome, knows how to wear secular clothes. He is extremely hardworking, flexible. He is smart. He has a kind, understanding heart. Here is one of his portraits.

After a terrible injury, the Lord gave Sergei Ivanovich another chance to live. They took him to the baths. “Gavrila gave the cab famously: he flew out of the carriage house and stood, as if rooted to the spot, at the entrance. Father cheerfully runs down the stairs, in everything new ... The stupid dressmaker, who is called "muzzle", even threw up her hands, gasped: "Ah-ah, that's a good fellow ... just a young man, the groom!" Everyone is hustling around the cab, looking at us ... Everyone is happy, wishing his father good health, marveling at how dexterous he is.

The attendants, who had a day off, all came, conjured over the body of Sergei Ivanov for a long time. The Shmelevs left the other - recovered.

“We go out to the cab, go home, and here the women are waiting for us. And such and such a din rose, as if a flock of geese had flocked. Everyone is so smart, dressed up, in new chintz ... Can you get away from them! Father joked with everyone, gave everyone a kind word.

Let's go next time to relax, to see Moscow. They go to the restaurateur Krynkin. It turns out that Shmelev the father once helped this Krynkin. “Yes, when can Krynkin forget how you raised and strengthened him from low ashes ?!” It was given to the father to see the deep in people. Could help with money out of human pity. He always ate everyone. On holidays, special tables were set for the poor. And if he helped talented people to open up, they were grateful to him to the end and sincerely. Krynkin called Shmelev's father " the right person":" Why, nonetheless, the right people ... you can’t find it with fire during the day! Russia has always needed people like Sergei Ivanovich Shmelev. Yes, but they are rare.

Mikhail Pankratovich Gorkin was always next to his father. The hero of the story - little Vanya - could not know the details of Gorkin's life. And we do not know if he had a family, children. He is always next to the owner - with Shmelev. His father called him Gorka. It can be said that Gorkin was not just right hand Shmelev-father, and his second "I". Already dying, the father said to his wife: “My affairs are not arranged. It will be difficult for you. Pankratych listen. His grandfather listened to him, and I, always. He's all right." God for everyone to have such a comrade in life. Yes, but they are rare. The boy himself said this about him: “What does Gorkin not know! An old man, reserved.

It is unlikely that you will meet at least people similar to the characters in the book "The Summer of the Lord" in your life. Ivan Sergeevich Shmelev gives the ideal business host and beautiful soul Human.

About holidays

The state appoints the day to be a holiday, but nothing comes out except drinking. Celebrate Teacher's Day, Medical Worker's Day, Builder's Day or Geologist's Day. And respect, real, deep, sincere, the government has no one. What can I say, they celebrate Victory Day. And only for these days, former soldiers are given 500 rubles each. And the fact that they gave their health to their homeland and until now most of them live in terrible material conditions, on an extremely miserable salary, not a word about that. Only they can pay off with vodka in the store. They wanted to replace the Orthodox holidays with the holidays of May 1 and November 7, but there was no euphoria in society. Many went to hard labor. Now many understand that portraits, flowers, and so on were carried in front of the "idols".
Why didn't Soviet holidays become a part of our life?
Because they were “appointed” by people who, as it turned out later, did not have a completely normal relationship with their conscience. And nobody can appoint holidays.

How was it in Rus'? Russia lived on Orthodox holidays that coincided with milestones peasant life. Here are the titles of some of the chapters: “Great Lent. Clean Monday", "Efimons", "Annunciation", "Easter", "Conversations", "Trinity Day", "Apple Spas", "Christmas", "Christmas Time", "Shrovetide", "Baptism", "Petrovka", "Pokrov", "Radunitsa", "Mikhailov's Day", "Palm Sunday", "Egoriev's Day". A lot has been written about each holiday, in detail, richly. They were not appointed, but evolved over the centuries according to need. folk life. And they were celebrated by everyone without exception. Because before God we are all one.

There is a lot of people's truth in these holidays.

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V Cyril and Methodius Readings

Section "Language of National Culture".

Artistic originality story by I.S. Shmelev "Summer of the Lord".

Abstract prepared by:

9b grade student

Belova Polina

GBOU secondary school with. Krasnoarmeiskoye

Krasnoarmeisky district

Samara region

Scientific adviser:

Zhdanova O.A.,

teacher of Russian language and literature,

GBOU secondary school with. Krasnoarmeiskoye

With. Krasnoarmeiskoye, 2013

I. Introduction. Justification of the topic. Tasks and ways of studying the problem………………………………………………………………………. 3

II. Life and work of I.S. Shmelev………………………………………… 4-5

Sh. The artistic originality of I.S. Shmelev’s story “The Summer of the Lord”… …………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………………

1. Problems of the story.

2. Genre and composition of the story.

3. Style of I.S. Shmelev

IV. Conclusion. Conclusions………………………………………………………10

V. References………………………………………………………….11

I. Introduction. Justification of the topic. Tasks and ways of studying the problem.

Russian literature is our great spiritual heritage, our national pride. After October revolution many poets and writers were not published, they were persecuted. Many of them emigrated from the country. One of these writers is Ivan Sergeevich Shmelev, a prose writer who masterfully owns the wealth of folk speech, continuing the traditions of Dostoevsky and Lesky.

A special place in the work of I.S. Shmelev is occupied by the story “Summer of the Lord” (1927-1948), “a quivering and prayerful book, singing and fragrant” . This work not only illuminates the theme of childhood in a new way, but also opens up new narrative forms for this genre.

The purpose of my work is to draw attention to the work of I.S. Shmelev, to interest him in his work, to convince others that “Shmelev ... is the last ... of Russian writers, from whom you can still learn the wealth, power and freedom of the Russian language” (A.I. .Kuprin).

The task of my work is to consider the originality of the story by I.S. Shmelev “The Summer of the Lord”.

I see the relevance of my work in the fact that in the work of I.S. Shmelev

“The Summer of the Lord” reveals the spiritual life of the individual in its inextricable connection with the fate of Russia, poetically describes folk culture, and reveals the riches of the Russian language.

The research method is descriptive, partly exploratory.

The material for the study was collected from publications:

1. Ivan Shmelev "Summer of the Lord", Moscow, "Children's Literature", 1997.

II. Life and work of I.S. Shmelev

A Muscovite, a native of the commercial and industrial environment, he perfectly knew this city and loved it - tenderly, devotedly, passionately. It was the earliest impressions of childhood that forever planted in his soul the March drops, and palm week, and “standing” in the church, and traveling around old Moscow.

Moscow lived for Shmelev a lively and original life, which to this day reminds of itself in the names of streets and streets, squares, passages, embankments, dead ends. But Shmelev was closest to Moscow in that triangle called Zamoskvorechye, where the merchants, the bourgeoisie and many factory and factory people lived. The most poetic books - "Praying Man" (1931) and "Summer of the Lord" - about Moscow, about Zamoskvorechye.

A special place in childhood impressions, in the grateful memory of Shmelev, is occupied by his father. Sergei Ivanovich, to whom the writer dedicates the most heartfelt poetic lines. Shmelev mentions his own mother in autobiographical books occasionally and as if reluctantly. Only in reflection, from other sources, do we learn about the drama associated with it, about childhood suffering that left an unhealed wound in the soul.

The February 1917 revolution was greeted by Shmelev with enthusiasm, but after the events of October, his attitude towards the new government became deeply critical. In the autumn of 1918 he left for Alushta, where he had a small estate. There Shmelev experienced all the horrors of the Civil War, which ended for him with the arrest and execution of his only son, a white officer who became a victim of extrajudicial reprisals. The events of this time were reflected in the story written on autobiographical material " sun of the dead" (1923).

The writer suffered tragic events connected with the revolution and military events, and upon arrival in Moscow, he seriously thinks about emigration. In January 1923, Shmelev finally left Russia for Paris, where he lived for 27 years.

With pain, Ivan Sergeevich learned about the destruction of Moscow shrines, about the renaming of Moscow streets and squares. But the brighter and more carefully he strove to preserve in his works what he remembered and loved more than anything in the world. By this he accomplished a literary and human feat.

Despite all the hardships, the Shmelevs' emigre life in Paris still resembled the life of old Russia with the annual cycle of Orthodox holidays, with many fasts, rituals, with all the beauty and harmony of the Russian way of life.

When the Nazis bombed Paris at the end of World War II, four bombs fell not far from Shmelev's house at once, turning two buildings opposite into ruins.

Usually Ivan Sergeevich got up early, but that morning, due to malaise, he lay in bed. This saved his life. The glass in the windows was shattered. Sharp fragments riddled through the back of his desk chair. Empty frames clapped, the wind walked from corner to corner.

Suddenly a small piece of paper flew into the disfigured room and, slightly circling over the desk, landed right under Ivan Sergeevich's feet. He held up the picture. It was a reproduction of "Our Lady with Jesus" Italian artist Baldovinetti. How did she get here?

Apparently, the Queen of Heaven was pleased to save the life of a sick and lonely Russian writer - an emigrant.

The next day, in the Sergievsky Compound, Shmelev served a thanksgiving service.

In order to feel more fully the atmosphere of monastic life, Ivan Sergeevich moved to the monastery of the Intercession of the Most Holy Theotokos, 140 kilometers from Paris. On the same day, a heart attack ended his life.

The nun mother Theodosia, who was present at the death of the writer, said:

"The mysticism of this death struck me - a man came to die at the feet of the Queen of Heaven under her cover."

Shmelev passionately dreamed of returning to Russia, at least posthumously. This happened on May 30, 2000, when the ashes of Ivan Sergeevich and Olga Alexandrovna Shmelev, on the initiative of the Russian public and with the assistance of the Russian Government, were transferred from France to the necropolis of the Donskoy Monastery in Moscow.

III. Artistic originality of the story by I.S. Shmelev "Summer of the Lord".

1. Problems of the story.

The main theme of the novel "Summer of the Lord" is the theme of historical and tribal memory. Shmelev believed that the world would be unshakable as long as people remember the past and build the present according to its laws. This makes the world spiritualized, "deified", and therefore meaningful. Observance of the ancient order helps a person to be moral. With this understanding, daily activities turn into a rite full of meaning.

"Summer of the Lord" is a kind of encyclopedia of customs associated with church and public holidays. These holidays are described “from the depths of the heart of a believing child”: from the emotional assessment of the name of the holiday through acquaintance with its everyday side, the little hero comes to comprehend its essence. The story “Pokrov” is indicative in this regard: in its beginning, the name of a holiday beloved in Rus' is introduced as a “foreign” word and combined with the pronoun “unknown”, then the ambiguity of the word is revealed, the words cover and cover (“He will cover the earth with a snowball”), the idea of the completion of affairs is associated with the Pokrov (“Here the Pokrov will come - the denouement of everything”). Finally, in Gorkin's story, a folk interpretation of the holiday is given and the image of the overshadowing and saving Protection of the Mother of God is introduced. At the end of the story, the image of the Intercession, a symbol of mercy, forgiveness and intercession, correlates with the motifs of radiance, height, gaining freedom and overcoming fear.

The narrative is built according to the laws of grateful memory, which preserves memories of the lost material world, the spiritual component of life. In "The Year of the Lord" the theme is religious, the theme of the aspiration of the soul of a Russian person to the Kingdom of Heaven is connected with family life Zamoskvoretsky court of the “middle hand” of the Shmelev merchants, the life of Moscow in the 80s of the XIX century. The boy Vanya and his mentor Gorkin do not just live earthly life with its Annunciation, Easter, the feast of the icon of the Iberian Mother of God, the Trinity, the Transfiguration of the Lord, the Nativity of Christ, Christmas time, Baptism, Maslenitsa, but they believe in the Lord and the infinity of life.

It can be said that the world of the "Leta of the Lord" - the world of Gorkin, Martyn and Kinga, the ram-keeper Fedya and the devout Domna Panferovna, the old coachman Antipushka and the clerk Vasil Vasilich - simultaneously existed and never existed. Returning in his memories to the past, Shmelev draws the child's soul's comprehension of the spirit Orthodox faith. The text of the story includes numerous quotations from prayers, church hymns, Holy Scripture and lives. But, the hero himself, Shmelev the child, appears before the readers with all the experience of the path traversed by Shmelev the writer. The perception of the world in this book is the perception of both a child and an adult who evaluates what is happening through the prism of time. The writer creates his own special world, a small universe, from which the light of higher morality emanates.

It seems that all of Rus' is shown in this work, although we are talking just about the Moscow childhood of the boy Vanya Shmelev. For Shmelev, an emigrant, this is “ lost heaven". The ideal of the writer was Holy Rus', he lovingly resurrects her images. The organic connection of the writer with his homeland is manifested in poetization folk culture, in the preservation and transformation of the riches of the Russian language.

The book "Summer of the Lord" is a memory book and a reminder book. It serves a deep knowledge of Russia, the awakening of love for its ancient way of life. It is necessary to look back to the past in order to discover the origins of the tragedy of Russia and ways to overcome it, connected, according to Shmelev, only with Christianity.

The title of the book is ambiguous and bears quotation character. It goes back to the Gospel of Luke, where it is mentioned that Jesus came "to proclaim the acceptable year of the Lord." Summer is a designation of the church year and at the same time a sign of the manifestation of Divine grace. In relation to the text of Shmelev’s story, which was created in exile, this title acquires an additional meaning: the “favorable” period in the life of Orthodox Russia, which, from the author’s point of view, preserved faith, the spirit of love, wise patience and beauty of the patriarchal period, which coincided with the childhood of the narrator, which he, being separated from his homeland, resurrects with the power of grateful memory in the hope of "letting go of the tormented" and healing "the brokenhearted."

2. Genre and composition of the story.

"Summer of the Lord" is built as a combination of a number of stories dedicated to the writer's childhood, and consists of three parts: "Holidays" - "Joys" - "Sorrows". This book implements the principle of ring composition: it consists of forty-one essay chapters. I.A. Ilyin said that “each essay is closed in itself, ..., like an island, stable and independent. And all are connected together by a kind of continuous circumstance - the life of Russian national religiosity ... " .

The action in the story moves in a circle, following the annual cycle of Russian Orthodoxy. The space is also organized in a circular manner. The center of the universe of little Vanya is his house, which rests on his father - an example of life "in good conscience." This is the first round of the story. The second circle consists of the "courtyard", the world of Kaluga Street, inhabited by ordinary Russian people. The third circle is Moscow, which Shmelev loved and considered the soul of Russia. Moscow in "The Summer of the Lord" is a living, animated being. And the main, fourth circle is Russia. All these circles are placed in the inner space of the hero-narrator's memory.

Each chapter can be considered as a separate work, connected ideologically and thematically with the work as a whole. In most cases, the narrative is built on a single principle: first, events in the house or in the yard are described. Then Gorkin explains to Vanya the essence of what is happening, after that - a story about how the holiday is celebrated at home, in the temple and throughout Moscow. Each described day is a model of being.

The narration in "The Year of the Lord" is in the first person, which is typical for most autobiographical works XIX-XX centuries The pure childish voice is important to the author, revealing the whole soul in free and joyful love and faith. But the narration is heterogeneous: with the point of view of the little hero dominating as a whole, a number of contexts are organized by the “voice” of the adult narrator. These are, first of all, the beginnings of the chapters, digressions in the center, endings, that is, strong positions of the text.

The contexts organized by the point of view of the little hero and the memories of the adult narrator are separated in time. Their alternation, comparison or superposition create lyrical tension in the text and determine the combination of speech means.

Memories of childhood are memories of the life of the old patriarchal Moscow and, more broadly, Russia, which have the power of generalization. At the same time, the "children's" tale conveys the impressions of the child from each new moment of being, perceived in sound, color, smells. The world surrounding the hero is depicted as a world that carries all the fullness and beauty of earthly existence, a world of bright colors, pure sounds, exciting smells: “The overgrown nettles and burdocks are still thickening juicy, and only under them is it gloomy; and the plucked currant bushes glisten from the light.

Shmelev's book was given a variety of genre definitions: a fairy tale novel, a myth novel, a legend novel, a free epic. This emphasized the power of transforming reality in the work, genre definition which the writer himself did not give. But there is no doubt that "The Summer of the Lord" is a spiritual book, since its inner plot is the formation of the soul of the boy Vanya under the influence of the surrounding reality.

3. Style of I.S. Shmelev.

The magnificent Russian language in which “The Summer of the Lord” is written was noted by everyone who wrote about this story. “And language, language ... Without exaggeration, there was no such language before Shmelev in Russian literature. ... The writer spreads huge carpets, embroidered with rough patterns of strongly and boldly placed words, catchwords, catchphrases ... Now every word is like gilding, now Shmelev does not remember, but restores the words. From afar, from the outside, he restores them in a new, already magical splendor ”(O.N. Mikhailov).

The richness of speech means, conveying a variety of sensory sensations, interacts with the richness of everyday details that recreate the image of old Moscow. Detailed descriptions of the market, dinners and Moscow feasts with a detailed listing of dishes show not only abundance, but also the beauty of the way of Russian life: “We look - and we can’t get enough of it - such and such a ruddy beauty! ... And all sorts of sausages, and different cheeses, and pressed, and granular caviar ... "

Admiring the fine art of Shmelev, I.A. Ilyin, one of the first researchers of his work, wrote: “ Great master words and images, Shmelev creates here in the greatest simplicity the refined and unforgettable fabric of Russian life; you don’t have time to marvel at these words and images, sometimes you quietly clasp your hands in your soul when a very precise, very rich word is thrown out: here is the “chattering” of a “merry March drop”: here in a sunbeam “gold pieces are fluttering”; axes "grunt"; watermelons "with a crackle"; "black porridge of jackdaws in the sky" .

The fine art of the writer was especially evident in the display of complex, undivided, "combined" images in the word. For this purpose, they are used speech means, giving a multi-aspect characteristic of reality:

Complex epithets:joyful blue, pale fiery, pinkish wheaten, magnificently tight, coolly fragrant;

Metonymic adverbs that simultaneously indicate both the attribute of the object and the attribute of the attribute:appetizers shine juicy, chamomile turns yellow, smells of sacred cypress, icy edges shine;

Synonymous and antonymic associations and associative convergence:creak-crunch, unexpectedness-unexpectedness, pouring-hissing, cutting-grinding, fresh-white and etc.

The noted combinations inherent in the language of folklore are complemented by equally regular repetitions that perform an amplifying and excretory function in the text: “You can hear how it drips, gurgles boringly boringly; And silver priests come out, many, many; And I see ... green-green light!

Against the background of extremely accurate descriptions of nature and everyday realities, demonstrative and indefinite pronominal words stand out, replacing direct names. They are connected with the comparison of two worlds: the bottom and the top. The first is recreated in the text in all the diversity of the world. The second one is inexpressible for the narrator: "And I will die one day, and that's all ... We will all meet there."

Detailed characteristics of everyday realities, which serve as a means of depicting the national way of life, are combined in the test with a description of Moscow, which is invariably drawn in the unity of the past and the present. The story “Lenten Market” is indicative in this respect: here the gradual expansion of space is correlated with an appeal to historical time: the boundary between the past and the present is destroyed, and the narrator’s personal memory merges with the historical memory: “I know everything. There, behind the walls, there is a little church under the mound - I know. And the cracks in the walls - I know. I looked from behind the walls ... When? ... And the smoke of fires, and screams, and the alarm ... - I remember everything! Everything seems to be a reality, my reality ... - as if in a forgotten dream.

The writer's favorite sign is an ellipsis, indicating the incompleteness of the statement, the lack of an exact nomination, the search for the only right word, and finally, emotional condition narrator.

“It seems that in Russian literature no one used the pause as Shmelev does,” I.A. Ilyin noted. “A pause means in Shmelev either a semantic separation (opposition), or an emotional break arising from the intensity of experience ...” .

The story "Christmas", for example, is constructed as a tale with omitted lines and questions from an imaginary interlocutor. They are partially reproduced in quotations in the narrator's speech and dialogize it: “Volsvi? ... So, the wise men, the magi. And when I was little, I thought wolves. Are you funny?"

The world depicted by Shmelev combines the momentary and the eternal. It is portrayed as a gift from God. The entire text of the story is permeated by the semantic series "light". It is formed by the words “brilliance”, “light”, “radiance”, “gold”, which are used both in direct and in figurative meaning. Illuminated (often in brilliance and radiance) everyday realities are drawn, Moscow is permeated with light, light reigns in the descriptions of nature and the characteristics of the characters: “Joyful to tears beats in my soul and shines from these words. And I see, behind the string of days of Lent, - Holy Sunday, in the lights. Joyful prayer! She shines with a gentle light in these sad days of Lent; ... and. smoothly swaying, the Queen of Heaven is coming over all the people ... Her face is turned to the people, and all of Her shines, rosy illuminated by the early spring sun ... ".

The through image of light unites the stories that make up the “Summer of the Lord”. The motive of transformation is also connected with the motive of light: household, everyday life it is depicted transformed twice - by the look of a child, lovingly and nobly opening the world, and by the Divine Light. The motive of transformation in the story finds expression in the use of the semantic series “new” and in repeated descriptions of the same reality: first direct, then metamorphic, based on the method of personification: “The beautiful little white birch. She stood alone on a hillock... - The birches look in the windows, as if they want to pray... - The birch at the bow is barely visible, its branches have drooped. And above me is a birch, rustling with leaves. They are holy, God. The Lord passed through the earth and blessed them and all.

The repetition of through rows (“holidays”, “memory”, “light”, “transformation”) forms the basis of the semantic composition of the test. In the last part of the story (“Sorrow”), rows of repetitive images are deployed, symbolizing evil, misfortune, having a folklore and mythological basis (“snake color”, etc.). Death in the finale is interpreted as a multi-valued image, associated not only with memories of the past, but also with the death of the world loved since childhood, the loss of the Motherland: “I know: this last goodbye, farewell to home, with everything that was ... ".

Lyrical memories of childhood are thus transformed into a narrative about the spiritual foundations of being.

IV. Conclusion. Conclusions.

"Summer of the Lord" by I.S. Shmelev - in many ways a work new form. It is characterized by a special spatio-temporal organization and a complex, contaminated narrative structure based on the interaction of different narrative types.

For the first time in autobiographical prose, a tale is used to depict the past, creating the illusion of sounding, spoken speech. Drawing images of a bright, happy childhood and the image of Holy Rus', interacting in the narrative, the writer uses both the wealth of folk speech and the new visual means discovered by him.

Poetics of "The Summer of the Lord" enriches Russian prose and reveals new trends in development artistic speech XX century.

V. List of references.

Esaulov I.A. Holidays.Joys.Sorrows. M.: New world, 1992

2.I.A.Ilyin “The Lonely Artist. Articles. Speeches. Lectures.", Moscow, 1993.

3.I.A.Ilyin "On darkness and enlightenment", Moscow, 1991.

4. Ivan Shmelev "Summer of the Lord", Moscow, "Children's Literature", 1997

5. Popular science universal encyclopedia "Circumnavigation", 1997

6.. Kuzicheva A. "... The Lord's favorable summer" / / Book of review - 1986.

In 1948 (YMCA-PRESS). Comprises three parts: "Holidays", "Joys", "Sorrows". "Holidays" was published separately in Belgrade.

Turning to the years of childhood, Shmelev captures in the novel the worldview of a child who has accepted God into his heart. Peasant and merchant environment appears in the book not wild " dark kingdom”, but a holistic and organic world, full of moral health, inner culture, love and humanity. Shmelev is far from romantic stylization or sentimentality. He draws the true way of Russian life of not so long ago, without obscuring the rough and cruel sides of this life, its "sorrows". However, for a pure child's soul, existence opens up, first of all, with its bright, joyful side. In "The Year of the Lord" the church-religious layer of folk life is extremely fully and deeply recreated. The meaning and beauty of Orthodox holidays, rituals, customs, which remain unchanged from century to century, is revealed so vividly and talentedly that the novel has become a true encyclopedia of the life of a Russian Orthodox person. Shmelev's language is organically connected with all the richness and diversity of living folk speech, it reflected the very soul of Russia. I. A. Ilyin noted that what is depicted in Shmelev’s novel is not what “was and has passed”, but what “is and will remain ... This is the very spiritual fabric of believing Russia. This is the spirit of our people." Shmelev created "a work of art of national and metaphysical significance", depicting "the sources of our national spiritual strength" (Ilyin I. A. "On darkness and enlightenment").

History of creation

The basis of the novel "The Summer of the Lord" is I. S. Shmelev's oral story about Russian Christmas to his seven-year-old godson in December 1927 in Sevres. Far from his homeland (in exile), I. S. Shmelev created his famous autobiographical trilogy: the novels Praying Man (1931-1948), The Summer of the Lord (1933-1948) and the collection Native (1931). The novel "Summer of the Lord" occupies a central place among these works. Work on the novel took the writer about 14 years. “In it,” Shmelev said of his book, “I show the face of Holy Rus', which I carry in my heart.” "Praying Man" and "Summer of the Lord" are united by a common theme, the same characters meet; they have similar inner stories. At the beginning of 1928, the first essay, Our Christmas. Russian children”, however, only in 1948 the novel was published in full in the well-known Parisian publishing house YMCA-Press, which specialized in Russian literature. In Russia selected chapters first published in the journal Novy Mir in 1964, the book was published in full only in 1988. In the novel The Summer of the Lord, the writer refers to the memories of his early childhood, which ended for him at the age of seven with the tragic death of his father. On the pages of the book, the reader gets acquainted with everyday life merchant's house and workers who consider this house their own, respect religious and family holidays, religious processions. The author remembered all this from his childhood, which he spent in a merchant's house in Zamoskvorechye, built by his great-grandfather Shmelev. There are various interpretations of both the genre belonging to the "Leta of the Lord" and the writer's artistic style.

Georgy Adamovich skeptically notes that "... rereading Shmelev, I want to exclaim:" I don't recognize you, Russia. lyric poem, according to the definition of I. Ilyin, grows into an epic poem - about Russia and the foundations of its spiritual existence. “The narrative recreates generalizing pictures of the life of many generations of Russian people, affirming the idea of the endless life-creation of the people, their strength and wisdom, the continuity of their deeds. Life should be built not on breaking, but on strengthening the foundation of the past, on the continuation of tradition. This is one of the author's favorite thoughts. In the inseparable connection of generations, he sees the basis for the spiritual enrichment of a person and a nation.

Most critics agree that the style and characters of "The Summer of the Lord" originate from the autobiographical works of L. N. Tolstoy ("Childhood"), S. T. Aksakov ("Childhood of Bagrov-grandson"), M. Gorky, as well as from the prose of Dostoevsky and Leskov, "Nikita's Childhood" by A. N. Tolstoy, etc.

Plot and composition

There are 3 storylines in the novel: 1) the movement of the church year through all major holidays, 2) the story of the death of the father of the protagonist Vanya, 3) Vanya's spiritual maturation, under the influence of the events of the first two storylines. The daily activities of the characters are closely related to the course Orthodox calendar: during Great Lent, ice is stored for the summer, apples are removed on the Transfiguration of the Savior, cucumbers are salted on the eve of Ivan the Lenten, and cabbage is chopped after the Exaltation. All rituals and customs are repeated from year to year. “And we will have everything in stock, we will manage to be warmer, and the Lady will cover us with Her Veil ... Work - know - and live, do not be afraid, we have a great spade,” Gorkin shares such worldly wisdom. Thus, “the idea of a circle, which is the basis of the composition of this work, gives the novel world the appearance of perfection, harmony.” The titles of the chapters of the “Summer of the Lord” are subject to the Orthodox principle: “Great Lent”, “Efimons”, “Annunciation”, “Easter”, “Trinity Day”. The names of the main parts of the "Summer of the Lord": "Holidays", "Joys", "Sorrows" - all this is in accordance with a person's life. The main idea runs through the whole novel - the formation moral qualities. The system of images of the story is subordinated to this task. The child understands the essence of the holiday through the emotional evaluation of its name and through familiarity with everyday life.

The hero follows Christian traditions, participates in church holidays and in family life. The family is not only the father, the sisters Sonechka (“very kind, everyone says cordial; but only she is hot, quick-tempered, like daddy, and just as easy-going”), Manya and one-year-old Katyusha, brother Kolya. In the life of Vanya, the family is Gorkin, Vasily Vasilyevich, the nanny Domnushka, the cook Maryushka, the feeder Nastya, the Anti-pushka-coachman. Vanya, having heard how his father scolds the senior clerk Vasil Vasilich for the fact that they, drunk, “almost maimed the public”, is very worried about him. But everything ends happily. The little hero from the old clerk's confession understands that in the world around him, it is not money that is honored, but honor, honesty, and truth. Vanya accepts everything that adults do in Clean Monday, reverently sighing the "unforgettable, sacred smell" of Great Lent. At his first confession with Father Viktor, Vanya sincerely repents of all his childhood sins. Repentance was not in vain: when, after Communion, on the street, a local hooligan, Grishka, tried to offend him (“a sailor ... put his pants on”), Vanya wanted to respond with rudeness, “yes, he restrained himself - he remembered that this was a temptation for me.” In the third part, we can trace the spiritual maturation of Vanya: “Holy joy”, “ living water”, “Moscow”, “Silver chest”, “Bitter days”, “Blessing of children”, “Unction”, “Death”, “Funeral”. The first three chapters are devoted to Sergei Ivanovich's farewell to the joy of earthly existence, in the rest - the story of his departure to eternal life. ordeal in the life of Vanya becomes the illness of his father (after an accident on a horse) and the death that followed. It’s hard for him to accept: “God, too, is sorry for the orphans<...>let the old die<...>why God will not pity us, will not create a miracle. The death of his father is the answer to these terrible questions. Before his father's death, Vanya has a dream: he walks with Gorkin through a large meadow, "and beyond the meadow is the Trinity (before his death, the father blesses I. with the image of the Holy Trinity.) And the meadow is covered with fresh flowers" (a Christian symbol of life).

Main characters

Vania is the main character of the novel "The Summer of the Lord". The story in the novel is conducted on behalf of Vanya, therefore the reader perceives the world of the novel through the eyes of a child. The image has autobiographical features. He is not yet seven years old. He is "amusing", "light as an ant!". Since childhood, Vanya has known the sensations of a festive existence: “Now the holidays have faded, and people seem to have cooled off. And then ... everyone and everyone was connected with me, and I was connected with everyone ... ”. His favorite items include: great-grandmother's icon "Crucifixion" in the front, "tasty, holy spoon", which "on the back of the church with crosses", later donated to Gorkin. Vanya, getting ready for school, cries over " Prophetic Oleg", easily performs the grammatical task of the governess, unlike the idler Danka, the son of the rich godfather Alexander Kashin.

Sergei Ivanovich- Vanya's father, representative of the owners of the "old way". Family members are not rich and live only by righteous deeds. S.I. does good deeds: at Christmas he arranges a dinner “for the different”, that is, for the poor. Sergei Ivanovich is a spiritual person, he is an admirer of Pushkin's work and helps in organizing the opening of a monument to the poet. In his economic undertakings, he primarily pursues moral goals(for example, his concern for the temple in honor of the Kazan Icon of the Mother of God). Sometimes he even suffers losses, as happened during the preparation of the Pushkin holiday. An accident becomes a turning point in the life of S.I.: S.I. is thrown off by a horse and dragged by it over stones, he, completely broken, was barely brought home. The sudden illness of S.I. changes everything around, makes many kinder. “From this moment on, all people’s Moscow sympathizes with Sergei Ivanovich, accepts active participation in the fight against a deadly disease". In the chapters "Living Water" and "Moscow" it is shown how people are trying to remove the "residual disease" from their pet. "S. I. suffers unbearable pain, but continues to believe and tells the doctor that everything “The Will of God.” His reflections on the eternal are impressive, although the temporal is not alien to him: he keeps a “yellow” on his desk - “a flower plucked by his son”, loves horses and even pities the mare that threw him off.

Gorkin Mikhail Pankratovich (Mikhail Pankratych, Gorka)- an old carpenter who "no longer works, but so, at the house", Ivan's spiritual mentor. This hero is a "Russian believing simpleton" (I. Ilyin), he understands everything in matters of way of life and ritual. The surname Gorkin speaks for itself: Easter is popularly called Red Hill. That is why Sergei Ivanovich calls the old "paneler" Gorka. G. serves people by following Orthodox traditions, therefore, gives his pupil the opportunity to understand the meaning of Orthodox ritualism himself. Before his death, Ivan's father gives an order to his wife: “It will be difficult for you, Pankratych, listen. His grandfather listened to him, and I, always. He's all right." And Ivan himself, with childish spontaneity, reflects on G.: “who will he be?<...>holy martyr or reverend, when will he die?” G. receives a medal from the Synod "for diligence in the presence of a ktitor", and this indicates that his spiritual authority was also officially noted. The brightness of G.'s character is manifested in a combination of strictness towards himself and the deepest tolerance for others, wisdom with childishness: G. "likes to mess around in the attic, where there is a dovecote," and he himself reminds Sergei Ivanovich of a "grey-winged dove." Through G. Shmelev's statements expresses his thoughts.

Vasily Vasilievich Kosoy (Kosoy - a nickname given for frequent libations)- "senior clerk" with Sergei Ivanovich, he served under the father of the current owner. He has a broad back<...>red neck and nape", "hot face, red hair in swirls". This real hero: in March he walks “in a pink shirt and vest, without a cap<...>jumping with a pencil over the blocks, counting the carts. With his perseverance, he succeeds in many things, for example, he eventually managed to sit out the German Ludwik Karlych in the hole. He can be called a fabulously exaggerated hero, like Levsha and Flyagina Leskova, because he combines heroic strength and craftsmanship (V.V. has a magical “tricky book”, where “everything is spelled out, to the point”, and no one but himself can figure it out). V.V. always remembers his working duty. He is devoted to his master, he does not remember the insult: “he lost his head, did not sleep, did not eat,” when Sergei Ivanovich fell ill. While the owner is sick, V.V. does all his work. After the death of Sergei Ivanovich, he promises the mistress: “I will serve as the deceased Sergei Ivanovich, until we arrange business. And there you want and drive away.

"Dear boy", with an appeal to which the chapter "Christmas" begins and which is further referred to as "Ivushka" - Shmelev's grand-nephew and godson Ivistion (Yves) Andreevich Gentilom, who was born in 1920 in France and brought up in the family of a writer, author of the book of memoirs "My uncle Ivan".
"Summer of the Lord" means the Year of Jubilee.

Publication of the novel in the USSR

Shmelev I. S. Summer of the Lord: [Holidays. Joy. Sorrow]; Pilgrimage; Articles about Moscow / Compilation, introductory article, commentary by B. N. Lyubimov. - M .: Moskovsky worker, 1990. - 576 p. - (Literary chronicle of Moscow). - 100,000 copies. - ISBN 5-239-00621-0

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See what "Summer of the Lord" is in other dictionaries:

Summer- (old glory - year) - the time of the year, starting from the day of the summer solstice on June 22 and ending on the day of the autumn equinox on September 22. This is according to astronomical chronology in the Northern Hemisphere of the Earth. In everyday life here in the summer ... ... Fundamentals of spiritual culture (encyclopedic dictionary of a teacher)

Shushlebina A.V.

Teacher of the Department of Russianand foreign languages and methods of their teaching in elementary schoolFGOU HPE "Michurinsky State Pedagogical Institute"

THE THEME OF FAMILY EDUCATIONIN THE STORY "SUMMER OF THE LORD" I.S. SHMELEVA

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In the critical literature about I.S. Shmelev, there is no detailed consideration of the relationship between the characters in the story, but here, in the “Summer of the Lord”, there is a kaleidoscope of life. The writer focuses all his attention on man and the human in him, on human relations in earthly existence, the author reveals the soul of a Russian person with bright strokes.

Keywords: Shmelev, Summer of the Lord, family, upbringing

In the "Summer of the Lord" many heartfelt pages are dedicated to the father. " Critical role in the book belongs to the father of the narrator Sergei Ivanovich, ”notes V.V. Agenosov. To this thought of the critic one can add the words of L.P. Krementsova: "The central motive" of behavior is "the theme of fatherhood, both earthly and heavenly."

The origins of the dominance of the image of the father in the work of I.S. Shmelev can be found in his correspondence with friends, as well as in the memoirs of his contemporaries. V.N. Muromtseva-Bunina notes in her diary dated February 16, 1929: “Shmelev told how he was flogged, the broom turned into small pieces. He cannot write about his mother, but endlessly about his father.

The story depicts episodes of communication between two heroes, father and son, which testify to such methods of educating a person as personal example and conversation. The father tells Vanechka about the need to work not only physically, but also spiritually, being himself a man in character, who "combines efficiency with selflessness, boldness with Christian humility."

The composition of the story includes a dialogue between Sergei Ivanovich and his son, in which the following statement sounds: “What do you want? he asks sternly. - Don't interfere. Take a prayer book, read it ... There is nothing for you to sell elephants, learn prayers! [5, p.124]

“Sergey Ivanovich himself would have preferred to tinker in the garden, light lamps in the house, singing his favorite “let us bow to Your cross, Master ... and Your Holy Resurrection ... glory-a-avim,” writes V.V. . Agenosov.

Dad instructs the child, advises him to be generous, to remember his neighbor. Psychologist F.S. Nemov, writes that parents (father, mother), without even knowing it sometimes, influence the type of behavior of children, their attitude to surrounding events.

“Father thinks. He says - do not interfere, think of it yourself ...

Father says: Good goose ... there’s nothing to say, he [Gorkin] is always behind you with a mountain, and you didn’t even bother with the name day ... good.

- I'm ashamed…

Moves the chair and unlocks the drawer. So you don’t think of anything? .. - and takes a new wallet out of the drawer, and I - into the wallet! ..

- Tell him: “And a golden nut ... from me and dad, inseparably ... we love you together.” [5, p.259]

The response in the hero’s soul is found by the father’s reproach “you didn’t even bother with the name day ... good-rosh”, speaking with love and a desire to help his son in Hard time. In a separate paragraph, a proposal was made that reveals the psychological state of the hero: "I'm ashamed of ...".

Throughout the story, Sergei Ivanovich appears before us as a man who cares about birds and plants. Vanechka's father knows how to rejoice at the singing of a lark like a child. “Father rises and raises his finger; his face is beaming.

- Sang! ..

In The Brothers Karamazov, F. M. Dostoevsky, in a touching “speech at the stone”, Alyosha says such heartfelt words: “Know that nothing is higher, and stronger, and healthier, and more useful from now on for life, like some kind of good memory, and especially taken from childhood, from the parental home. They tell you a lot about your upbringing, but some sort of beautiful, bright memory, preserved from childhood, perhaps the best memory is. If you collect a lot of such memories in your life, then a person is saved for life.

There is a special language between father and son that only the two of them can understand. “He pulls my cheek” is a sign of attention, affection from “daddy”. This movement calms the child, is a signal that everything is in order with the father. The boy mourns: “So he [dad] was so upset that he didn’t pinch his cheek.”

The spiritual relationship between Vanechka and Sergei Ivanovich is also revealed in the sketch of the boy visiting his father's office when the owner of the house was ill. The son wanted to find that most important thing, "the most important thing - from daddy."

“He kissed the worn, shiny edge of the cold stirrup.” I touched everything ... - and suddenly, I saw, under the frosty sandbox made of glass, similar to marble soap, my flower, my first "yellow", plucked in the garden, even before Easter ... I remembered how I ran up to my father ... He took it, sniffed it - and put under the sandbox ... I carefully took the dried "yellow", brought it to my lips. A touching gesture - a kiss conveys the attitude of the hero towards his father. This outward movement reveals love for one's neighbor and experience. Of the entire list of visible things in the room, the flower is closest to the boy's heart.

The father, being near death, remembers the same flower. "Mother told how he [father] told her:" Vanyatka loves "yellows".

The concentration of attention of the heroes (father and son) at a distance on the same object - the yellow flower symbolizes the unity of souls forever. "Yellows" are the first flowers that appear in spring. Spring is an awakening, a sign of the eternal life of nature. Psychologists V.S. Lobzin and M.M. Reshetnikov suggest "taking into account the effect of color on the psycho-emotional state of a person." Yellow causes a feeling of abstraction, relaxation. So this flower, appealing to past events, makes you transfer your thoughts to another "dimension", and there it will unite forever.

The scene of a father caring for his son is unforgettable. “I’m already asking him [to go to the icebreakers], but he waves it off: “There is no one to look after you, and they’ll hurt you, and you can slip under the ice. And the men are arguing… there’s nothing for you to do there.” Through words and actions, love for the child is shown.

“At the age of six or seven years, the most fundamental foundations of the child's soul, the deepest motives, are laid, and this is precisely the time when the child's soul is immersed deep into the family,” many psychologists say.

According to the memoirs of the writer's niece, Yu.A. Kutyrina, “Shmelev never parted with Pushkin: “I still remember the portrait over the writer's desk, of course, Pushkin is with him everywhere, in front of him, and abroad! So uncle Vanya honored and loved him ... ". Pushkin was always there.”

Poems by A.S. Pushkin about Moscow sound on the pages of the story. Ivan Sergeevich absorbed this love for the great writer from his father, who often read poems by heart. Vanechka sees how “out of respect for the national shrine, my father takes a contract for the construction of stands for the opening of the monument to Pushkin.”

Such a compositional device of the story, as an antithesis of the atmosphere of the house of Shmelev and Alexander Kashin, is manifested in the behavior of their sons: Vanya and Danilka.

"Danka runs through, - he pulled me by the hood, by the dome and dumped" - this is the first description about the character. Something cruel, impudent is shown in behavior of the child. Characteristics of movements helps to reveal those spiritual qualities, which dominate Danka. After a while, "Danka runs through again and drags me by the jacket into the" cool ... ". Danka broke the lace pretzel on my new jacket, ... pushes me and shouts: "I'm stronger than you!" exit on the left!" This is the meaning of Danka's life: since I am stronger, then everything is allowed to me. Here an unhealthy belief in the omnipotence of physical force is manifested.

Kashin's son behaves unceremoniously, not observing the simplest rules of etiquette: he shouts, although he had to show respect, love for his relative - the boy Vanya, who is younger, but he does not even honor the elders; his governess "teasing with his tongue -" zy-zy-zy "!"

Alexander Kashin, Danka's father, treats his subordinates in the same way. Turning to an elderly man, Gorkin, he says: “Is the old bastard still alive? And your smart< отец Ванечки >is everything at the balushka? .. Did you invent the ice hut? “Kashin says everything: the people spoil! laughs: not a business daddy.

“The house is rich, but it’s cold to sit in it,” Gorkin notes. Metaphorically, the title of the chapter is "Ice House", which describes the meeting of two guys. It is transferred to the state of mind of the character. "The coldness of the soul" emanates from him.

In revealing the theme of the family, I.S. Shmelev uses different compositional elements: landscape, portrait. A special place is occupied by the leitmotif of the contrast of family education, which is realized in the image of two children, their behavior, speech, attitude towards people around them. I.S. Shmelev is characterized by an Orthodox worldview, it is the spiritual precepts of our ancestors that should be passed on to the next generation, and education should be based on them.

Literature

Agenosov V.V. The most Russian of writers / V.V. Agenosov Literature of the Russian Abroad - M .: Tera, sport, 1998. p. 92-115.
Dostoevsky F.M. Brothers Karamazov: a novel. _ M.: ZAO Esco-press Publishing House, 2001. 800 p.
Russian literature of the twentieth century: textbook. allowance: In 2 volumes. - T.1.61920-1930 / ed. L.P. Krementsov. - M.: Publishing Center "Academy", 2002. - 496 p.
Shmelev Iv.: reflection in the mirror of letters: from the French. writer's archive // Our heritage. - 2001. - No. 56 \ 60 - p. 122-149.
Shmelev I.S. Selected works: In 2 volumes. - V.2; Pilgrimage. Summer of the Lord. - M .: Literature, Veche, 2001. - 528 p.

As you know, many works of the great Russian writer Ivan Sergeevich Shmelev (1873-1950) were created in exile. Among them is his autobiographical "Summer of the Lord" (1933-1948), based on the memories of childhood spent by the future writer in Zamoskvorechye, unique in its beauty and attractiveness.

The teacher prepared an analysis of the novel, based on methodological techniques: a holistic perception of the work in the unity of form and content, finding out the meaning of unfamiliar words and commenting on the text, independent work students with text; organizing a conversation problematic issues; development of a culture of speech, a sensitive attitude to the language, to the figurative word; appeal to moral concepts.

“Shmelev is now the last and only of the Russian writers from whom one can still learn the wealth, power and freedom of the Russian language,” A. I. Kuprin wrote about Ivan Sergeevich Shmelev.

The archival materials of Ivan Sergeevich returned to their homeland, works began to be published. The main book of his life - "The Summer of the Lord" - absorbed much of the human and artistic experience, summed up his searches, thoughts about what Russia and the Russian people are.

In the 11th grade, high school students have a unique opportunity to get acquainted with this book. The most productive way to study a literary work is Holistic Analysis . Appeal to this way of studying is dictated by the desire to preserve the completeness of perception and comprehension of the work in the unity of form and content among students.

Let's start by clarifying general tonality , which is often called a stylistic dominant. We will give the students the task: to name the epithets that determine the tone that dominates in Shmelev's novel "The Summer of the Lord". Students define the atmosphere of this work in this way and name the following epithets: Light, kind, cozy, warm, peaceful, luminous, chaste, cordial, spiritual, Orthodox, sunny, humane, sincere, lyrical, dear, joyful…

Due to the fact that the title is one of the very important structural and semantic elements of a literary text, students proceed to the analysis Titles, which contains information about the author's concept, conveys author's assessment described and guides the reader's understanding of the text. The title is a figurative reflection of the writer's intention, the idea of the work. Considering such important function headings, ask students the following questions.

What does the word "summer" mean?

What can be said about the content, the idea of the work, its language, judging by the title?

Why do you think Shmelev originally called his novel "The Sun of the Living"?

The proposed problem questions activate thinking, imagination of high school students. With interest, they express their assumptions that “summer” symbolizes a circle (in Ancient Rus', the word Summer meant Year) - the ideal of the infinity of the spiritual life of man. Circle As the embodiment of a perfect form, according to the guys, it personifies the symbol of the sky, the solar eye, the beginning and end of human existence, the endless change of generations. The teacher recalls that the circle in Rus' was considered a symbol of unity, it was understood as “the law moral love” (A. S. Khomyakov), as “integrity, irrationality and orientation towards universal unity” (V. Solovyov).

Answering the third question, the students draw an imaginary image of the author, talk about his spiritual purity, suggest a high intention of the work, associated with the spiritual ascent of a person.

Next stage Moral-cognitive and value-oriented activities of students - the definition of the ideological and artistic function Epigraph. High school students know that with the help of an epigraph, the author can express his attitude to the plot, the characters, the events described. The students will have to find out how the famous Pushkin lines, taken by Shmelev as an epigraph, are connected with the author's intention and idea of the book.

The teacher focuses the attention of schoolchildren on the conceptual significance of the epigraph, helping them to comprehend the idea of Shmelev's book, expressed in “the ancient depths of national memory”(I. A. Ilyin).

High school students, defining the ideological and artistic role of Pushkin's words that precede the novel, reveal Shmelev's intention - to show love for ancestors, for one's neighbor, love-forgiveness, love for one's origins, the return to which promises a person moral self-improvement.

Next stage a holistic analysis of the work - the identification and comprehension of the moral and artistic ideal of the writer, embodied in Compositions"The Summer of the Lord"

High school students know that the composition is manifested not only in the plot and narrative side of the work, but also in its figurative fabric and system of characters; and the internal task of the composition is the continuity of the movement of artistic thought and feeling, the close connection of each element with the whole.

Due to Compositional analysis - rather laborious process, research graduating students takes place in small groups based on dialogue.

High school students are offered the following problematic questions and tasks-collisions.

What is the regularity of the arrangement of chapters in the book of I. S. Shmelev "Summer of the Lord"?

Why is the circle based on the compositional model? What does it symbolize?

How is the principle of circular (cyclic) composition implemented both at the level of the entire novel and at the level of one chapter?

Why is Shmelev's everyday space not perceived as closed?

Follow the implementation of the compositional model on the example of one chapter.

Why does the image of Vanyusha become the organizing center of the entire novel, around which the artistic world of The Summer of the Lord revolves?

How in compositional construction book reflects the image of the author, his worldview, feelings, thoughts, beliefs, ideals?

Each of the small groups, having completed the tasks proposed by the teacher, analyzes the independently chosen chapter of the novel and, through the analysis of the composition, reveals the moral and artistic ideals of the writer.

Let us cite as an example the work of one of the small groups of the seminar on determining the compositional model of the Lenten Market chapter.

“The time of Shmelev's narration is limited to the framework of one day, but one of a kind, inimitable, like every day of human life. History of any kind is closely connected with the history of the country and its people, so the Kremlin brings the theme to the text historical memory, and the boy Vanya becomes the heir to the ancestral and historical memory, the future guardian of the spiritual ideals of his people.

In the description of the Lenten Market, the artistic space opens up. The objective world of Shmelev is sublime, spiritual, unearthly. Then the artistic space of the Lenten Market is again looped with a description of the Kremlin. Sacred memory, ancestral, historical, are capable of awakening Man in a person - a truly spiritual being. The composition of the chapter in miniature repeats the architectonics of the novel: each day described is a holistic, ideal model of being.

The chapter "Lenten Market" is built according to circle models. From the whole complex Meanings of "circle" for Russian religious philosophy, the idea of a circle as a perfect form, about the creation of the world in the form of a circle, due to the perfection of which every particle of the world is endowed with perfection, turned out to be significant. The idea of the Deity was traditionally associated with the circle. The circle symbolizes the integrity of cosmic processes. In Christianity, its main ideal is associated with the symbol of the circle - unity and its main principle is a constant return to the center, the destruction of personal egoism, the reconciliation of God and man, the reconciliation of the people themselves.

Continuing research work By studying the construction of Shmelev's book, students turn to the second compositional feature of the work - the peculiar arrangement of chapters and the specifics of headings. Students note that the narration in the novel is built in accordance with Orthodox church calendar. The composition of the "Summer of the Lord" reflects the annual cycle of calendar holidays and rituals.

Word "holidays" for the writer is filled with deep spiritual meaning and is inextricably linked with the culture of his native people. The festive culture in Russia created a reserve of vitality for a person, introduced him to national values and contributed to the spiritual development of a person. holiday culture is the first result The pedagogical system of the people developed over several centuries. Through holidays in the form traditions The highest human values are consolidated and passed on from generation to generation.

“Summer of the Lord” introduces students to a series of holidays, each of which is unique in its own way: Christmas, Christmas time, Epiphany, Efimon, Maslenitsa, Annunciation, Easter, Intercession Day, Peter’s Day, “Philippovka”, Trinity, Apple Spas, St. Michael's Day.

Students are offered a range of learning objectives, the solution of which allows us to comprehend the moral and artistic meaning of the holidays, described in such detail in Shmelev's book.

What is the color and light scale of the holidays in Shmelev's novel "The Summer of the Lord"?

Are Gogol's traditions traced in Shmelev's description of the objective world, or does Ivan Sergeevich have his own, special attitude?

How are the objects of the material world in Shmelev combined with the eternal categories of being?

What moral and artistic meaning are the holidays filled with in the "Lyota of the Lord"?

Studying the features of the composition of the work, high school students conclude that the second part of Shmelev's novel - "Joys" - is closely connected with the first in terms of tone and subject matter - this is the second circle from holiday to holiday.

Students are offered The following questions and tasks to identify the moral potential of the book.

What values for the little hero become significant?

How do “joys” affect the spiritual development of a boy?

High school students note that in almost all chapters the word “joy” or its derivatives dominate.

Studying the text of the novel, schoolchildren, in addition to the key lexeme “joy”, single out another dominant word - “sun” and its derivatives.

So a holistic analysis of Shmelev's book allows students to conclude that the frequency of using the lexemes “joy” and “sun” in the work is associated with the idea life affirmation AND optimism.

Schoolchildren reveal the educational role of labor scenes in the novel. With what amazing touchingness Shmelev depicts the process of pickling cucumbers, sauerkraut, harvesting apples for the winter and chopping ice for the summer, preparing for the holidays. Joy in the "Summer of the Lord" is impossible without difficulty, a person is often judged by skill. Vanya's father is devoted to work without a trace; Gorkin is an excellent carpenter, connoisseur of the Holy Scriptures, fascinated by dovecotes; Solodovkin is the best poultry house in Moscow; Denis is a great connoisseur of fish; Garanka is a skilled cook; Yegorych is a master famous for his miraculous “carnival”; merchant Krapivkin is a famous merchant of vegetables and fruits (“He has gourds ... always sugar-coated, with a crackle. He sends them to Yuri Dolgorukov himself,” Gorkin says about him). The skill acquired by tireless work makes these people needed and respected. Work as an integral part of life (including spiritual) brings joy to all the heroes of the work and is both for them and for the author Supreme value.

High school students in the process of holistic analysis note another distinguishing feature novel "Summer of the Lord": the little hero lives in a world where every day, every moment is valued, every person is valued, where even a thing is inspired, where everything is permeated with genuine love, tenderness, affection, warmed by warmth, where it is joyful and calm.

As students read the chapter on “Grievings,” they gain an invaluable life experience: even at a tragic moment in life, a person is given an invaluable lesson in love of life.

next step Educational and cognitive activity has become an appeal to Image system.

Analysis of the main image of the novel precedes a number of problematic issues and tasks.

Who can be called a mentor of a boy?

What influence does Gorkin have on the formation of Vanya's spiritual world?

On what ideals is the “pedagogy” of Mikhail Pankratievich built?

How does the relationship of others affect the spiritual development of the boy?

What is Father Vanya's “pedagogy” based on?

How do workdays and Orthodox holidays shape a child's spirituality?

What shrines are laid in the soul of a boy? What traditions have the greatest influence on him?

Sincere, trusting relationships reign in Vanyusha's house, and the warmth and sincerity of the environment, like air, are necessary for a child for spiritual and moral development. You can be convinced of this by analyzing only how the characters of I. S. Shmelev address each other. The boy is affectionately called “darling”, “Murasha”, “tiddly”, “chizhik”, “dove”, “brother”, “friend”, “cute”, “killer whale”, “cute”, “Vanyatka”. Affectionately, softly, the names of people sound in their house: “Domnushka”, “Antipushka”, “Maryushka”, “father”, “Gavrilushka”, “mother”, “daddy”, “Martynushka”, “Sonechka”, “Sofochka”, "Seryozhenka", "Annushka", "Katyusha". The child in appeals to himself, to others feels kindness and love.

Models of behavior for Vanyusha are the adults themselves: their actions, beliefs, relationships. The boy is inclined to imitate them, to borrow their assessment of people, events, things. The child gets acquainted with the life of adults in different ways: watching their holidays and everyday work, listening to their discussions about life, fairy tales, poems. As a model for Vanya, the behavior of those people who cause love, respect and approval of others is used. Mikhail Pankratievich Gorkin is the boy's spiritual mentor.

I. S. Shmelev saw the universal function of man in the care of the older generation for the younger. The little hero receives from the older generation Priceless lessons of kindness, mercy, patience, diligence. Students, studying the "Summer of the Lord", learn to distinguish between true and imaginary values. This understanding requires the spiritual potential of disciples.

Analyzing the vocabulary students identify some features.

One of them - The abundance of words with diminutive suffixes. Performing the task in a group method, students name a number of words with the indicated suffixes: Dove, fish, holiday, dove, grass, leaf, cross, side, friend, father, birch And so on.

In order to identify the semantic and ideological and artistic load of words with diminutive suffixes, so widely used by Shmelev in "The Summer of the Lord", students are offered several questions and tasks.

Which of the characters in the "Leta of the Lord" owns words with diminutive suffixes?

How does this characterize the characters in the novel?

In what stylistic environment does Shmelev use words with suffixes of emotional evaluation?

How do these words relate to the idea of the work?

In the process of lexical analysis of the text, the guys name another feature - Frequent use of Church Slavonicisms. Determining the ideological and artistic function of this linguistic layer of the "Leta of the Lord", schoolchildren note that, firstly, Church Slavonicisms help Shmelev to recreate the color of the era of the beginning of the 20th century, to give the narrative a solemn sound. On the other hand, church vocabulary is so organically connected with everyday life that everything ordinary, everyday in the novel acquires a higher, spiritual meaning, life in the "Summer of the Lord" is spiritualized.

The third feature of the language structure, students call Shmelev's wide involvement Elements of oral folk art.

High school students say that the artistic fabric of the “Leta of the Lord” is made up of a fabulous style of narration, fragments of folk songs, riddles, nursery rhymes, teasers, oral stories, parables, performance of the pagan rite of divination, proverbs and sayings. In the "Summer of the Lord" sparkling humor, nursery rhymes (kalachi-hot), teasers (crooked-crooked handle ...), inviting rhymes of the innkeeper Brekhunov, jokes, jokes, Puzzles Gorkina (“He sings nuns, and there are a hundred cups in him”; “The nose is black, white-bellied, the tail is rolled back”; “Without a carnation, without an ax he builds a bridge”), Proverbs and sayings(“A tit is small, it will get drunk with water”; “To whom there is fasting, and to whom it is a churchyard”; “Grow, tuft, to the very ceiling”) reveal the world to the little hero in a new way, help to present familiar things in an unexpected light.

In the process of studying the language structure of the “Leta of the Lord”, schoolchildren pay attention to some more folklore features of the work. Shmelev's successful artistic discoveries include the use of Twinned Adjectives, nouns and verbs: Whale-fish, burning, fuming, the stove crackling, chirping, spinning, rolling, they saw, they said, I look, I admire ...

With this folklore technique, the writer gives the artistic text emotional richness. Strengthen the emotionality of the narrative of "The Summer of the Lord" and repetitions of the same word: Blue-blue, tender-gentle, often-often, quietly-quietly... Schoolchildren note the abundance of vernacular in the speech of Shmelev's characters (seme- seventh , rostepel- thaw , church, nonetheless, stronger, tool) And they pay attention to what a powerful force every word of the writer has. They come to the following conclusion: in the midst of the people lives, develops the hero-narrator and, comprehending the treasures mother tongue, assimilates the national characteristics of Russian culture, its enduring values. It was no coincidence that L. I. Timofeev argued that language is a kind of memory of the people, fixing its past and preserving the present for the future.

establishing Moral and artistic ideals are promoted by the work of students with color epithets, Used by Shmelev.

The dominant adjectives in the novel are such adjectives as Golden, pink, light, white. Analyzing the lexical structure of the work, students give the following examples from the text: “golden Moscow”, “golden ringing”, “golden word”, “golden gossamer threads”, “golden Easter cakes”, “golden banners”, “dazzling golden meadows”, “pink icon lamp”, “pink apple trees”, “pink childhood”, “bright day”, “round bright tears”, “bright song”, “bright pure melody”, “apple trees white with color”...

High school students notice that the color designations “gold”, “pink”, “light”, “white” organically enter the artistic world of the novel and acquire a unique imagery from Shmelev. The writer's color designations become evaluative: with their help, the author conveys the attitude of the hero-narrator to the world around him, to other people. For a boy, everything he sees is permeated and warmed by the gentle sun, and therefore is perceived in a golden light. Pink light is a reflection of a sunny, golden color. White color symbolizes the purity of the soul of the child, his sinlessness, good intentions and deeds. Only a very kind, loving and beloved person is able to see the world in such touchingly solemn colors. Each epithet of this author is filled with spiritual meaning.

Completing A holistic analysis of the novel "Summer of the Lord", students come to understand that the entire artistic fabric of Shmelev's book (title, epigraph, tone, composition, lexical structure of the work, features of tropes, etc.) is permeated The ideals of love, kindness, cheerfulness and unity.

Love, kindness and mercy are the three pillars on which human life, this eternal, immortal beginning, which gives a special meaning to the mortal worldly life, makes a person Human. Serving other people, the pinnacle of moral ascent, overcoming the consciousness of personal superiority over other people, according to I. S. Shmelev, is the highest manifestation of morality.

A holistic analysis of a literary text allows students to fully perceive and deeply comprehend the novel by I. S. Shmelev in the organic unity of form and content, helps to verify the indissolubility of the author’s moral and artistic ideals and their figurative embodiment.

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