On Sunday, early in the morning, Ivan Degtyarev’s father-in-law, Naum Krechetov, not yet old, an efficient man, cunning and charming, came to see him. Ivan did not like his father-in-law;
Naum, feeling sorry for his daughter, tolerated Ivan.
Are you sleeping? - Naum spoke vividly. - Ehha!.. Well, Vanechka, you can sleep through the entire kingdom of heaven. Hello.
I didn't really want to go there. I'm not rushing.
In vain. Get up... Let's go and get some firewood. I asked the foreman for two carts. Of course, it’s not for “you live well,” but to hell with it - you need firewood.
Ivan lay there, thought... And began to get dressed.
That's why young people go to the city? - he spoke. - Yes, because you worked your quota there - go for a walk. They give a person a chance to rest. It's like hell here: neither day nor night. Not Sunday.
Why sit without firewood? - asked Nyura, Ivan’s wife. - They got him a horse, and he’s still unhappy.
“I heard: you also need to work in the city,” the father-in-law noted.
It’s necessary, I would be happy to go and dig a water supply system and trenches in a minute: I did it all once, but then without grief - both water and heating.
On the one hand, of course, it’s good - running water, on the other hand, it’s a disaster: then you’d fall asleep completely. Well, that's enough, let's go.
Will you have breakfast? - asked the wife.
Ivan refused - he didn’t want to.
Hangover? - Naum asked curiously.
That's right, your honor!
Yes... That's it. And you say - plumbing... Well, let's go.
The day was sunny and clear. The snow sparkled dazzlingly. There is silence and unearthly peace in the forest.
We had to go far, twenty versts: cutting closer was not allowed, Naum rode ahead and was still indignant:
Damn it!.. From forest to forest - for firewood.
Ivan was dozing in the sleigh. The steady ride lulled me to sleep.
We drove out into a clearing, went down into an open den, and began to climb up the mountain. There, on the mountain, the forest again stood like a blue wall.
We were almost up the mountain... And then we saw, not far from the road, five of them. They came out of the forest, stood and waited. Wolves.
Naum stopped his horse and swore in a low voice:
To ma-at your darling... Blue doves. Exhibited.
Ivan’s horse, young and cowardly, backed away and took over the shaft. Ivan twitched the reins, turning him around. The horse snored, kicked, but could not step over the shaft.
The wolves moved down the mountain, Naum had already turned around and shouted:
Well, what are you doing?!
Ivan jumped out of the sleigh, forcibly pushed the horse into the shafts... He fell into the sleigh. The horse turned around on its own and took off.
Naum was already far away.
I'm robbing! - he yelled in a frenzy, whipping his horse.
The wolves rolled pliantly down the mountain in gray lumps, across the carts.
I'm robbing! - Naum yelled.
“What, is he going crazy? - Ivan thought involuntarily. -Who is robbing whom? He was scared, but in a strange way: there was fear, and burning curiosity, and laughter took over his father-in-law. Soon, however, curiosity passed. And it wasn’t funny anymore either. The wolves reached the road about a hundred meters behind the sleigh and, stretching out in a chain, began to easily catch up. Ivan grabbed the front of the sleigh tightly and looked at the wolves.
A large, busty man with a singed muzzle waved ahead... Only fifteen to twenty meters separated him from the sleigh. Ivan was struck by the dissimilarity between the wolf and the shepherd. He had never seen a wolf so close before and believed that it was something like a shepherd dog, only larger. Now I understand that a wolf is a wolf, a beast. The most fierce dog can still be stopped at the last moment by something: fear, affection, an unexpected authoritative shout from a person. This one, with a singed muzzle, could only be stopped by death. He didn’t growl, didn’t scare... He caught up with the victim. And the look of his round yellow eyes was direct and simple.
Ivan looked at the sleigh - nothing, not a small twig. Both axes are in my father-in-law's sleigh. Just a clump of hay at your side and a whip in your hand.
I'm robbing! - Naum shouted.
Ivan was gripped by real fear.
The one in front, obviously the leader, began to walk around the sleigh, trying to fit the horse. He was about two meters away... Ivan stood up and, holding the sled's bend with his left hand, hit the leader with a whip. He didn’t expect this, clanked his teeth, jumped to the side, lost his swing... Others came flying from behind. The whole flock spun around the leader. He sat down on his hind legs, hit one, then another with his fangs... And again, rushing forward, he easily caught up with the sleigh. Ivan stood up, waited for the moment... He wanted to get at the leader again. But he began to walk around the sleigh further. And another one rolled away from the pack and also began to go around the sleigh, from the other side. Ivan clenched his teeth, winced... “The end.” Death". He looked ahead.
Nahum whipped his horse. He looked around, saw how the wolves were going around his son-in-law, and quickly turned away.
I'm robbing!
Hold back a little, father!.. Give me the axe! We will fight back!..
I'm robbing!
Hold it, we’ll fight back!.. Hold it a little, you such a bastard!
Throw them something! - Naum shouted.
The leader caught up with the horse and chose the moment to jump on it. The wolves running behind were very close: the slightest delay, and they would immediately fly into the sleigh - and that would be the end. Ivan threw a piece of hay; the wolves did not pay attention to this.
Father, bitch, hold it, throw the ax!
Nahum turned around:
Vanka!.. Look, I’ll throw it!..
You hold it!
Look, I'm throwing it! - Naum threw an ax on the side of the road.
Ivan took his time... He jumped out of the sleigh, grabbed an ax... Jumping, he scared the three rear wolves, they jumped to the side, stopped running, intending to rush at the man. But at that very moment the leader, feeling the hard crust beneath him, jumped. The horse darted to the side, into a snowdrift... The sleigh overturned: the shafts twisted the collar, it choked the horse's throat. The horse wheezed and thrashed in the shafts. The wolf, overtaking the victim from the other side, jumped under the horse and with a blow of its clawed paw spread its belly lengthwise. Three lagging wolves also rushed to the victim. The next moment, all five of them were tearing the meat of the still kicking horse, pulling out smoking balls of bluish-red intestines on the dazzling white snow, purring, the Leader looked directly at the man twice with his yellow round eyes...
Everything happened so monstrously quickly and simply that it looked more like a dream. Ivan stood with an ax in his hands, looking in confusion at the greedy, hasty feast. The leader looked at him again... And this look, triumphant, insolent, angered Ivan. He raised his ax, yelled at the top of his lungs and rushed towards the wolves. They reluctantly ran a few steps and stopped, licking their bloody mouths. They did this so diligently and enthusiastically that it seemed that the man with the ax did not interest them in the least. However, the leader looked carefully and directly. Ivan cursed him with the most terrible words he knew, swung his ax and stepped towards him... The leader did not move from his place. Ivan also stopped.
Yours took it,” he said. - Eat, you bastards. - And he went to the village. I tried not to look at the torn horse. But he couldn’t resist, he looked... And his heart sank with pity, and great anger took over his father-in-law. He walked quickly along the road.
Well, wait!.. Wait with me, you creeping serpent. After all, they would have fought back and the horse would have been intact. Skin.
Naum was waiting for his son-in-law around the corner. Seeing him alive and unharmed, I was sincerely happy:
Alive? Thank God! - It was still not easy on his conscience.
Alive1 - Ivan responded. -Are you alive too?
Well, what are they there?..
They bow to you. Skin!..
What are you? Are you barking?..
In a minute I’ll hit you, not bark. - Ivan approached the sleigh.
Nahum whipped the horse.
Naum again whipped the horse... Another race began: the man was catching up with the man.
Stop, they tell you! - Ivan shouted.
Zapoloshny! - Naum shouted in response. - Why are you so worked up? Are you crazy or crazy? What do I have to do with this?
Nothing to do with it?! We would have fought back, but you betrayed us!..
Where did they get away?! Where are you going, what are you doing?
Betrayed, snake! I'll teach you a lesson. If you don’t leave me, you’d better stop, I’ll sweep one away - it won’t be so shameful. Otherwise I’ll give you a beating in front of people, And I’ll tell you everything... Better stop!
Now - stopped, keep your pocket! - Naum whipped the horse. - Damn bitch-eater... where did you come from on our heads!
Listen to good advice - stop! - Ivan began to lose steam. - It’s better for you: I’ll sweep it away and won’t tell anyone.
You, the devil, were accepted naked as one of our relatives, and you come at me with an ax! Is there shame or not?
Let's clear it away, then we'll talk about shame. Stop! - Ivan ran slowly, was already far behind, and finally gave up catching up altogether. I walked at a pace.
I'll find it, there's no escape! - he finally shouted to his father-in-law.
Ivan found no one at home: there was a lock on the door. He unlocked it and entered the house. I looked in the closet... I found a bottle of vodka that was unfinished yesterday, poured a glass, drank it and went to my father-in-law. A harnessed horse stood in the father-in-law's fence.
“At home,” Ivan said with satisfaction. - We'll start teaching lessons in a minute.
I pushed into the door - it was not locked. He expected it to be locked. Ivan entered the hut...
They were waiting for him: his father-in-law, Ivan’s wife and a policeman were sitting in the hut. The policeman smiled:
Well, Ivan?
Soooo... Have you run away yet? - Ivan asked, looking at his father-in-law.
He ran, he ran, he poured the balls, was he in time?
I took a little for... eloquence. - Ivan sat down on a stool.
What are you doing, Ivan? Are you crazy or something? - Nyura stood up. - What are you doing?
I wanted to teach your dad... How to be a human being.
Come on, Ivan,” the policeman spoke, “Well, an accident happened, they both got scared... Who expected this to happen?” Element.
We could have easily fought back. Then I was alone with them...
Did I throw you an ax? You asked, I quit. What else was required of me?
Just a little: so that you are a man, and you are a skin. I will still teach you.
The teacher has appeared! Snot... Goal like a falcon, he came into the house to get everything ready and even threaten. Moreover, he is dissatisfied with everything: there are no water pipes, you see!
“That’s not the point, Naum,” said the policeman, “What does water supply have to do with it?”
It’s bad in the village!.. It’s better in the city,” Naum continued. - Why did you come here? Show your dissatisfaction? To incite the people against Soviet power?
From the bitch! - Ivan was amazed. And he stood up. The policeman also stood up.
Come on! Let's go, Ivan...
Do you know where to put such pathogens? - Naum did not let up.
I know! - Ivan answered. - Head into the hole... - And he stepped towards his father-in-law.
The policeman took Ivan by the arms and led him out of the hut. They stopped on the street and lit a cigarette.
Give it up!
No, I have to mark him down.
Well, you'll make money! Because of crap.
Where are you going to take me now?!
Come on, you’ll spend the night with us... You’ll cool off. Otherwise you'll make it worse for yourself. Don't mess around.
No, this is... what kind of person is this?
You can’t, Ivan, you can’t: you can’t prove anything with your fists.
We walked down the street towards the village prison.
Couldn't he? - the policeman suddenly asked.
Didn't catch up! - Ivan said with annoyance. - I couldn’t catch up.
Well... Now - that's it, now it's impossible.
I feel sorry for the horse.
They fell silent. They walked in silence for a long time.
Listen: let me go. - Ivan stopped. - Well, why will I be there on Sunday?! I won't touch him.
No, let's go. Otherwise you won’t be able to turn around... I feel sorry for you, I say. Let's go play chess in a minute... Do you play chess?
Ivan spat his cigarette butt into the snow and reached into his pocket for another cigarette.
Shukshin Vasily Makarovich is a famous Soviet writer, screenwriter, director and actor. The writer based his literary works on the contrast between rural and urban lifestyles. One striking example is short story V. M. Shukshina "Wolves". A brief summary of it will be given in the article.
Biography of Vasily Makarovich Shukshin (1929-1974)
Vasily Makarovich was born in 1929 into a simple peasant family in the Altai outback. Shukshin Sr. was shot during the period of collectivization; the future writer was barely 5 years old at that time.
At the age of 17, Vasily Makarovich went to get a job on a collective farm. Over the next 8 years, the writer regularly changes his place and occupation, moving from a mechanic at a turbine and tractor factories to become a Russian language teacher at the school in his native village.
In 1954, having persuaded his mother to sell her only cow, Shukshin went to Moscow with the proceeds and entered the directing department of VGIK. Two years later, Vasily Makarovich receives his first episodic role in the film “Quiet Flows the Don”, and after another 2 years his first story “Two on a Cart” will be published. Knowledge of the type of Russian person and the author’s extensive life experience can be felt by reading even summary"Volkov" Shukshina V. M.
The story of the story "Wolves"
The story "Wolves" was written in 1967 and became one of the iconic works of Vasily Makarovich's literary work. Summary of “Wolves” by V. M. Shukshin cannot convey the humor and depth of narration inherent in all the writer’s works. Despite their brevity, simplicity and unpretentiousness, all of Shukshin’s works are instructive and deeply moral.
Vasily Makarovich had high hopes for one of his first works, where he acted as a screenwriter. It's about about the historical film about Rasputin. In 1967, the project, on which the author had been working for more than two years, was rejected. Perhaps this event influenced the title and overall emotional plan of the story "Wolves".
Summary of the story "Wolves" by V. M. Shukshin
Reading complete work takes no more than 10 minutes. The summary of “Wolves” by Vasily Shukshin is comparable in volume to the original text, but, of course, loses in the expressiveness and imagery of the narrative. The writer is a recognized master of the short story.
The events of the work take place in an unnamed village. Naum, a still young, cunning man, and his son-in-law Ivan are the main ones characters story. The father-in-law and son-in-law do not like each other, as reported in the very first paragraph of the text. Naum considers Ivan too lazy, but his son-in-law does not like life in the village and his father-in-law, who always reproaches him for laziness.
The men agree to go into the forest for firewood, each on their own cart. On the way they meet a pack of wolves. Naum immediately turns around and sets his horse into a gallop, constantly shouting “Rob-ut!” At first, Ivan finds it funny; both his father-in-law’s fear and his inappropriate exclamation seem stupid to him. But then, when the pack led by the leader catches up with the sleigh, and Ivan, who has never seen the animal in person before, realizes that the wolf is not a yard dog, his laughter fades away.
The hero has nothing with him except a whip for the horse and hay in the sleigh. Naum, however, doesn’t even think about slowing down and helping his daughter’s husband; he didn’t even agree to hand over the ax right away, and he threw it to the side of the road. Ivan gets off the sleigh, and the wolves catch up and bully his horse.
The pack does not touch the man, but he is angry and offended. Ivan scolds his father-in-law for cowardice, promises to beat him for meanness, but cannot catch up with Naum. The ending of the story is both funny and tragic at the same time. Upon returning to the village, Ivan finds his wife and Naum in the company of a policeman. The father-in-law accuses his son-in-law of rowdyism and dislike for power, Ivan is taken to the “rural jail” “out of harm’s way,” although the policeman admits that he doesn’t like Naum either.
Morality in the story "Wolves"
Having described two chases - the wolves for Ivan and Ivan for Naum, the writer very subtly showed the reader how easy it is for a person to turn into a beast. Revenge, anger and banal resentment do not paint him as well as pettiness, cowardice, meanness and quarrelsomeness.
If before the death of the horse, all the reader’s sympathies are on the side of the lazy but simple Ivan, then after his threats to his father-in-law, the reader comes to the conclusion that they - The policeman in the finale shows more sympathy for Ivan than he does for his own father-in-law.
The moral problems of the 60-70s of the XX century are comprehended in the works of writers writing about the village: V. Shukshin, F. Abramov, V. Belov. These authors consider the topic of Russian spirituality.
V. Shukshin is a wonderful writer who knows how to convey stories in his own way. His stories are characterized by their simplicity. Despite the external simplicity and brevity of the plot, they are deeply moral and instructive; one can feel that the author has a wealth of life experience behind him. A writer with good irony and without excessive edification
Shows us what is good and what is bad, what is possible and what is not. There is a moral to be learned from his stories. For example, as in the story “Wolves”. Here we see what happens when people turn into animals.
The story has two main characters, two simple Russian men. Naum is not old yet, efficient, cunning and charming (probably there is some irony of the author here). Ivan is strong, but a little lazy. The author immediately makes it clear that there is trouble between them (at the beginning of the story it is said that there was family enmity between Ivan and Naum).
They go to the forest to get firewood and are attacked by wolves. First
Naum was afraid. He even lost his head from fear and shouted: “They’re robbing us!” It is clear that this man is a coward, he has an eternal fear for his own life, any situation causes him anxiety. At first, Ivan remained calm and cool, he was even surprised at his father-in-law’s reaction.” But when the wolves were nearby, Ivan also felt terrified. Every person can be overcome by fear when danger is close.
The situation was such that Ivan needed Naum’s help. Naum had only to hold the horses, and then he and Ivan would have fought off the wolves. But he chickened out, and Ivan found himself in great danger. Nahum betrayed him.
The wolves attacked the sleigh and tore the horse to pieces. Only Ivan’s courage and self-control saved him and he survived. Here you have a simple man, here you have a “goal like a falcon!”, as Naum said. Survived in such a situation, did not chicken out. A brave man. And Naum turned out to be a coward and a traitor.
But here comes the next plot point. Ivan decided to settle scores with the scoundrel. And another race began. Then the wolves were catching up with the man, and now the man was catching up with the man. How are these two better than wolves? The thirst for revenge and anger turn people into animals. This is the meaning of the title of the story.
The conflict continues at Naum’s house, when Ivan finally came to deal with the traitor. It’s good that the policeman intervened, otherwise there would have been a murder.
Thanks to this story, I finally understood for myself that cowardice is perhaps the worst vice; it often gives rise to meanness, betrayal in a person, brings to life everything bad in him, without which our existence, unfortunately, cannot do to this day.
Almost all authors who consider the problem of morality in one way or another in their works do not undertake to solve this problem in any one way, although they have fairly clear ideas about moral categories. However, showing the imperfection of a person who constantly violates the laws of morality, they nevertheless approach this topic with a certain degree of caution, trying to avoid straightforwardness, stilted images, and annoying edification.
Shukshin Vasily
Vasily Shukshin
On Sunday, early in the morning, Ivan Degtyarev’s father-in-law, Naum Krechetov, not yet old, an efficient man, cunning and charming, came to see him. Ivan did not like his father-in-law;
Naum, feeling sorry for his daughter, tolerated Ivan.
Are you sleeping? - Naum spoke vividly. - Ehha!.. Well, Vanechka, you can sleep through the entire kingdom of heaven. Hello.
I didn't really want to go there. I'm not rushing.
In vain. Get up... Let's go and get some firewood. I asked the foreman for two carts. Of course, not for “you live well,” but to hell with that.
Ivan lay there, thought... And began to get dressed.
That's why young people go to the city? - he spoke. - Yes, because you worked your quota there - go for a walk. They give a person a chance to rest. It's like hell here: neither day nor night. Not Sunday.
Why sit without firewood? - asked Nyura, Ivan’s wife. “They got him a horse, and he’s still unhappy.”
“I heard: you also need to work in the city,” the father-in-law noted.
It’s necessary, I would be happy to go and dig a water supply system and trenches in a minute: I did it all once, but then without grief - both water and heating.
On the one hand, of course, it’s good - running water, on the other hand, it’s a disaster: then you’d fall asleep completely. Well, that's enough, let's go.
Will you have breakfast? - asked the wife.
Ivan refused - he didn’t want to.
Hangover? - Naum was curious,
That's right, your honor!
Yeah... That's it. And you say - plumbing... Well, let's go.
The day was sunny and clear. The snow sparkled dazzlingly. There is silence and unearthly peace in the forest.
We had to go far, twenty versts: cutting closer was not allowed, Naum rode ahead and was still indignant:
Damn it!.. From forest to forest - for firewood.
Ivan was dozing in the sleigh. The steady ride lulled me to sleep.
We drove out into a clearing, went down into an open den, and began to climb up the mountain. There, on the mountain, the forest again stood like a blue wall.
We were almost up the mountain... And then we saw, not far from the road, five of them. They came out of the forest, stood and waited. Wolves.
Naum stopped his horse and swore in a low voice:
To ma-at your darling... Blue doves. Exhibited.
Ivan’s horse, young and cowardly, backed away and took over the shaft. Ivan twitched the reins, turning him around. The horse snored, kicked, but could not step over the shaft.
The wolves moved down the mountain, Naum had already turned around and shouted:
Well, what are you doing?!
Ivan jumped out of the sleigh, forcibly pushed the horse into the shafts... He fell into the sleigh. The horse turned around on its own and took off.
Naum was already far away.
I'm robbing! - he yelled in a frenzy, whipping his horse.
The wolves rolled pliantly down the mountain in gray lumps, across the carts.
I'm robbing! - Naum yelled.
“Is he going crazy?” Ivan involuntarily thought. “Who is robbing whom?” He was scared, but in a strange way: there was fear, and burning curiosity, and laughter took over his father-in-law. Soon, however, curiosity passed. And it wasn’t funny anymore either. The wolves reached the road about a hundred meters behind the sleigh and, stretching out in a chain, began to easily catch up. Ivan grabbed the front of the sleigh tightly and looked at the wolves.
A large, busty man with a singed muzzle waved ahead... Only fifteen or twenty meters separated him from the sleigh. Ivan was struck by the dissimilarity between the wolf and the shepherd. He had never seen a wolf so close before and believed that it was something like a shepherd dog, only larger. Now I understand that a wolf is a wolf, a beast. The most fierce dog can still be stopped at the last moment by something: fear, affection, an unexpected authoritative shout from a person. This one, with a singed muzzle, could only be stopped by death. He didn't growl, didn't scare... He caught up with the victim. And the look of his round yellow eyes was direct and simple.
Ivan looked at the sleigh - nothing, not a small twig. Both axes are in my father-in-law's sleigh. Just a clump of hay at your side and a whip in your hand.
I'm robbing! - Naum shouted.
Ivan was gripped by real fear.
The one in front, obviously the leader, began to walk around the sleigh, trying to fit the horse. He was about two meters away... Ivan stood up and, holding the sled's bend with his left hand, hit the leader with a whip. He didn’t expect this, clanked his teeth, jumped to the side, lost his swing... Others came flying from behind. The whole flock spun around the leader. He sat down on his hind legs, hit one, then another with his fangs... And again, rushing forward, he easily caught up with the sleigh. Ivan stood up, waited for the moment... He wanted to get at the leader again. But he began to walk around the sleigh further. And another one rolled away from the pack and also began to go around the sleigh, from the other side. Ivan clenched his teeth, winced... "The end. Death." He looked ahead.
Nahum whipped his horse. He looked around, saw how the wolves were going around his son-in-law, and quickly turned away.
I'm robbing!
Hold back a little, father!.. Give me the axe! We will fight back!..
I'm robbing!
Hold it, we’ll fight back!.. Hold it a little, you such a bastard!
Throw them something! - Naum shouted.
The leader caught up with the horse and chose the moment to jump on it. The wolves running behind were very close: the slightest delay, and they would immediately fly into the sleigh - and that would be the end. Ivan threw a piece of hay; the wolves did not pay attention to this.
Father, bitch, hold it, throw the ax!
Nahum turned around:
Vanka!.. Look, I’ll throw it!..
You hold it!
Look, I'm throwing it! - Naum threw an ax on the side of the road.
Ivan took stock... He jumped out of the sleigh, grabbed an ax... Jumping, he scared the three rear wolves, they jumped to the side, stopped running, intending to rush at the man. But at that very moment the leader, feeling the hard crust beneath him, jumped. The horse darted to the side, into a snowdrift... The sleigh overturned: the shafts twisted the collar, it choked the horse's throat. The horse wheezed and thrashed in the shafts. The wolf, overtaking the victim from the other side, jumped under the horse and with a blow of its clawed paw spread its belly lengthwise. Three lagging wolves also rushed to the victim. The next moment, all five of them were tearing the meat of the still kicking horse, pulling out smoking balls of bluish-red intestines on the dazzling white snow, purring, the Leader looked directly at the man twice with his yellow round eyes...
Everything happened so monstrously quickly and simply that it looked more like a dream. Ivan stood with an ax in his hands, looking in confusion at the greedy, hasty feast. The leader looked at him again... And this look, triumphant, insolent, angered Ivan. He raised his ax, yelled at the top of his lungs and rushed towards the wolves. They reluctantly ran a few steps and stopped, licking their bloody mouths. They did this so diligently and enthusiastically that it seemed that the man with the ax did not interest them in the least. However, the leader looked carefully and directly. Ivan cursed him with the most terrible words he knew, swung his ax and stepped towards him... The leader did not move from his place. Ivan also stopped
Yours took it,” he said. “Eat it, you bastards.” And he went to the village. I tried not to look at the torn horse. But he couldn’t resist, he looked... And his heart sank with pity, and great anger took over his father-in-law. He walked quickly along the road.
Well, wait!.. Wait with me, you creeping serpent. After all, they would have fought back and the horse would have been intact. Skin.
Naum was waiting for his son-in-law around the corner. Seeing him alive and unharmed, I was sincerely happy:
Alive? Thank God! - It was still not easy on his conscience.
“Alive1,” Ivan responded. “Are you alive too?”
Well, what are they there?..
They bow to you. Skin!..
What are you? Are you barking?..
In a minute I’ll beat you, not bark.” Ivan approached the sleigh.
Nahum whipped the horse.
Naum again whipped the horse... Another race began: the man was catching up with the man.
Stop, they tell you! - Ivan shouted.
Zapoloshny! - Naum shouted back. “Why are you so angry?” Are you crazy or crazy? What do I have to do with this?
Nothing to do with it?! We would have fought back, but you betrayed us!..
Where did they get away?! Where are you going, what are you doing?
Betrayed, snake! I'll teach you a lesson. If you don’t leave me, you’d better stop, I’ll sweep one away - it won’t be so shameful. Otherwise I’ll give you a beating in front of people, And I’ll tell you everything... Better stop!
Now - stopped, keep your pocket! - Naum whipped the horse. Damn horn-eater... where did you come from on our heads!
Listen to good advice - stop! - Ivan began to run out of steam. It’s better for you: I’ll sweep it away and won’t tell anyone.
You, the devil, were accepted naked as one of our relatives, and you come at me with an ax! Is there shame or not?
Let's clear it away, then we'll talk about shame. Stop! - Ivan ran slowly, was already far behind, and finally gave up catching up altogether. I walked at a pace.
I'll find it, there's no escape! - he finally shouted to his father-in-law.
Ivan found no one at home: there was a lock on the door. He unlocked it and entered the house. I looked in the closet... I found a bottle of vodka that was unfinished yesterday, poured a glass, drank it and went to my father-in-law. A harnessed horse stood in the father-in-law's fence.
“At home,” Ivan said with satisfaction. “We’ll learn our lessons in a minute.”
I pushed into the door - it was not locked. He expected it to be locked. Ivan entered the hut...
They were waiting for him: his father-in-law, Ivan’s wife and a policeman were sitting in the hut. The policeman smiled.
“Wolves” is one of the early stories by V. M. Shukshin (written in 1966, published in 1967 in Novy Mir). This story was somehow unlucky: it is very rarely included in collections of the writer’s works, and is practically “not noticed” by literary critics. Meanwhile, “Wolves” is a typical Shukshin story: its plot and main conflict are an episode taken from everyday rural life. The episode, as is most often the case with Shukshin, is dramatic, with rich dynamics of action, with intense emotions. In it (the episode) - and this is also typical of Shukshin - human characters are highlighted. The story is also typical in the author's style.
First of all, let us note the appeal to the conversational element as the main arsenal of speech means; dominance colloquial speech both in dialogue (which is natural) and in the author’s narration. Shukshin’s prose as a whole is characterized by “immersion” in the conversational element. This side of the writer’s literary style is noted in the literature about him. Thus, B. Pankin writes: “The fact that the word is the only weapon of the writer is an axiom that has become a truism. Nevertheless, I would like to repeat this truth. With one clarification, however. Not the word in general, but speech, living colloquial speech, easily, naturally, like mercury, taking any form. It is its element that makes up the fabric and content of stories, their construction material. It is precisely this that is heard in the dialogues, and in the monologues of the characters, and in the author’s laconic comments.”1 Dialogue clearly predominates in the compositional and speech structure of the story.
Sparing with words and expressive colors, at the same time accurate, energetic, emotionally intense, semantically complicated characterization of characters, their actions, plot situations, meaningful brevity, lapidary style, characterized by semantic capacity and dynamic presentation. These qualities of Shukshin's writing style are correlated with the stylistic properties of colloquial speech. The same B. Pankin connects the “meaningful” brevity of Shukshin’s syllable with his predilection as a word artist for colloquial speech. “The language of the stories,” writes the literary critic, “is artistically expressive, but the means of expression are unusually modest, unpretentious, they are all from the arsenal of oral speech” 2 (here we mean colloquial speech). However, as the artistic experience of Chekhov the prose writer shows (whose follower in the field of short story poetics is Shukshin), such a fictional style of writing is not strictly connected with the style of “colloquiality.”
Finally, Shukshin’s style is determined by the attitude (and this is seen as the main factor in the poetics of his literary work) to write the truth, “without lies” (“Let us praise those who stopped lying” - from the writer’s “Notebooks”).
As a result, as Professor V.S. Elistratov writes, “at the stylistic level we see true simplicity, a kind of reasonable minimization of verbal texture. Nothing superfluous. Clear rhythm. Lack of ornament.” 3
The active functioning of colloquial (literary) speech and vernacular in Shukshin’s stories is largely due to the socio-cultural status of the characters (most of them are rural residents), the author’s passion for dialogue, the plots of the stories (all of them are about life in the village), and Shukshin’s general orientation to the image , an artistic exploration of folk life. “The ear is amazingly sensitive,” - thus, according to Yu. Trifonov, A. Tvardovsky appreciated Shukshin’s writing skills in constructing dialogue, in reproducing the lively, direct speech of his characters 4 .
From the very first works main character Shukshina is a villager, a simple Russian man of solid, remarkable nature, who does not succumb to either everyday adversity or the fierce forest beast. He has a reliable reserve of independence, which gives him the strength to withstand extreme situations that require certain moral actions.
As the object of artistic research, Shukshin chose the contemporary and native Altai village with all its disorder and at the same time with an inescapable craving for goodness, with a naive romantic desire to get away from the tedious monotony of everyday life, to break out of a soulless existence, devoid of traditional age-old moral principles and the poetry of agriculture labor, while preserving the covenants of the old people to live according to their conscience. V. Shukshin admitted: “For me, it is in the village that there are the most acute clashes and conflicts. And there is a desire to say my word about the people who are close to me” 5 .
In a certain sense, Shukshin’s literary work traces the tradition of Russian classics, coming from Leskov through I. Shmelev (“I Lose My Language”) and M. Gorky. Indeed, in their everyday destinies, in their independence in actions and judgments, in their resilience, in their openness and spontaneity of soul, Shukshin’s heroes are akin to Leskov’s characters. Shukshin story colloquial expression
The writer is immersed in everyday life, the everyday worries of not a simple “man of the people.” The author is always close to his characters, he is “his own” for them, lives with their sorrows and... dreams. This is how Shukshin feels in his stories. He knows village life from the inside, firsthand, in detail. It is no coincidence that one of the literary critics called Shukshin’s works “the voice of the people” 6.
The plot of "Wolves" is simple: two villagers - Naum Krechetov and his son-in-law Ivan - went into the forest to get firewood. On the way they are attacked by wolves. The father-in-law got cold feet and left Ivan alone against the wolf pack... Having returned to the village, the son-in-law, for such a betrayal that almost cost him his life, intends to “sweep away” his father-in-law. But he has already called a policeman, who takes Ivan to the “rural jail.”
In the story, attention is drawn, firstly, to its vocabulary, the author’s work with and on the word; the deliberateness in the selection of words, the motivation of their use in this context and in the context of the entire story are obvious.
Secondly, the very manner of describing characters, participants in the action, reproducing plot situations, scenes, “pictures of nature” (the latter are sparingly presented in “Wolves”, as well as in other stories) is laconic, restrained and at the same time semantically and expressively rich ; the phrase and the speech structure of the entire text are distinguished by the dynamism of the syntactic structure. Shukshin’s stylistic manner is subject to the principle of “true simplicity”, which requires the author to have the necessary sufficiency in the artistic depiction of a given fragment of reality and, first of all, in the depiction of a person, his actions, in general his inner world, the “dialectics of the soul” (according to Chernyshevsky), in figurative -poetic reproduction of the “second reality” (remember: fiction is a second reality).
Colloquial and colloquial words and expressions perform the following functions in the story “Wolves”.
I. They act as a speech characteristic of the character, emphasizing the expressiveness of his remarks. Here is one of Ivan’s remarks (at the beginning of the story): - ...I would love to go dig a water supply system and trenches: I gave it my all, but then without grief - water and heating. Here the verb to give all your best means to give, to spend all your strength on something, refers to colloquial speech (initially it was most common in the speech of athletes). The verb to lay out is expressive and contributes to the dynamism of the statement. This is confirmed by comparison with possible synonymous replacements: I would try to work, I would work hard (sparing no effort) - which are both verbose (which would deprive the replica of its dynamism) and expressively unexpressive.
Another illustration: - It’s bad in the village!.. It’s better in the city<...>Why did you come here?
(Replica of Ivan’s father-in-law.) The verb pripertsya refers to colloquial (literary) speech, is part of coarse vocabulary, it is used in emotionally tense situations, when the speaker expresses his great dissatisfaction with the arrival of someone. This is quite consistent with Nahum’s negative attitude towards his son-in-law, as well as the context of the far from friendly dialogue between them. (Let us note an important circumstance for the full perception of the text of this story: to give all your best, and to push, as, indeed, other words related to colloquial speech, and in our days - in beginning of XXI centuries, almost 40 years later, they appear with the same stylistic characteristics 7.)
The most expressive, expressively rich lines in the story are those spoken in acute conflict and extreme situations, which is generally inherent in affective speech. Here, for example, is the final scene of the fight with the wolves:
Yours took it,” he said. - Eat, you bastards<...>
Well, wait!...Wait with me, you creeping serpent. After all, if they had fought back, the horse would have been intact. Skin.
Or Ivan’s explanation with his father-in-law after the fight with the wolves:
Betrayed, snake! I'll teach you a lesson. You won't leave me, you better stop. I'll beat one
It won't be so shameful. Otherwise I’ll mark it in front of people<...>
Now - stopped, keep your pocket! - Naum whipped the horse. - Damn bitch-eater... where did you come from on our heads?
In these remarks we see a whole set of words and expressions, endowed with bright colors of “reduced” expression, “charged” with negative emotions. The selected lexical and phraseological units belong to colloquial speech or to the category of coarse colloquial vocabulary and phraseology, to colloquial (literary) speech, as well as to everyday words and expressions of colloquial speech. Only one word betrayed belongs to book speech.
In the given replicas there are other elements of colloquial speech and vernacular that are involved in recreating the naturalness of similar replicas of real dialogues.
1. The so-called discourse, or structural, words. They function in oral speech, mainly in colloquial speech, as well as in such areas of book oral speech as radio and television speech; and beyond the literary language - in colloquial speech: vernacular, dialects, jargons. In the remarks given here (and in others), such words and expressions include here, one, keep your pocket... 8
2. Typical for colloquial use in affective constructions of the relative-interrogative pronoun that in the genitive case, for example: Why did you come here?; What are you! Are you barking?..
3. Non-normative use of forms different parts speeches (see below for more on this).
All this gives the lines additional expressiveness, as well as the plausibility of a real dialogue.
1. The expressiveness of the text increases due to the foreign-style nature of these speech elements in a literary work. After all, as you know, a literary work, with all the author’s immersion in the conversational element, finds its stylistic embodiment within the framework of language fiction, or artistic style related to book speech (its written styles).
The author’s focus on the “live”, relaxed speech of the characters and - accordingly - on informal verbal communication, the use of elements of colloquial speech and vernacular in the author’s own “party” is sometimes determined, along with the description of village life, by the folklore and ethnographic themes of the artistic text (for example, tales of P . Bazhov), depiction of the "thieves' environment" (for example, in modern detective stories or in Yu. Aleshkovsky), revelation of the inner world " little man"in modern underground prose with its "common intellectual", in the works of E. Popov, A. Slapovsky, on the one hand, and in V. Astafiev, on the other).
In the story "Wolves" such words convey mainly the dynamism of the scene, the energy of the actions (and speech behavior!) participants in the situation (often from the position of the corresponding character), emphasizing the drama of the situation being depicted, the tense psychological state of the character. For example: Ivan... hit the leader with a whip. Here the verb to burn implies an energetic and very strong blow with a whip; refers to vernacular, common in everyday speech. The horse darted to the side, into a snowdrift. The colloquial verb to shy away is homonymous; here it means a sharp, energetic jerk to the side out of fear, out of surprise, the word is very expressive. This becomes obvious if we compare it with “neutral” synonymous replacements: rush to the side, quickly move away, run to the side, which convey only meaning, remaining inexpressive in their expressive coloring. The wolf... jumped under the horse and with a blow of its clawed paw spread its belly lengthwise. To loosen is a colloquial verb, here it conveys the power and energy of the blow, the movements of the wolf, in its origin it refers to the professional jargon of tailors: when altering old clothes, the tailor cuts or breaks the threads (unfolds them) with which the two halves of the clothes are sewn; see also: The horse turned around on its own and started moving; The whole flock spun around the leader.
The author conveys the tension of the situation, the energy of the actions of the characters and animals (mainly in the perception of Ivan) in “neutral”, commonly used words: The wolves, in gray lumps, pliantly rolled down the mountain; the slightest delay, and they [the wolves] will immediately fly into the sleigh..., as well as the syntactic structure of sentences: Wolves<...>were very close: the slightest delay, and they would immediately fly into the sleigh - and that would be the end. It is no coincidence that there is a non-union sentence here; its second part is especially dynamic: the drama of the situation is emphasized by syntactic means - in addition to its lexical and phraseological composition. Wed: Ivan clenched his teeth, winced... [author's ellipsis. - Yu. B.] "The End. Death." He looked ahead. Remarkable for its laconicism and emotional expressiveness, this fragment testifies to the extraordinary stylistic skill of the author of the story. Two nominal sentences (End. Death), designed as direct speech, on the one hand, convey the dynamism and psychological tension of the situation being described (of course, together with other words and sentences) from Ivan’s point of view; on the other hand, the noted dynamism and dramatic nature of the situation make words introducing direct speech unnecessary - the first sentence directly indicates to whom direct speech belongs.
These nominal sentences, so introduced by the author into the text, can be perceived as a kind of parcellation (remember; parcellation is “a division of a sentence in which the content of the utterance is realized not in one, but in two or more intonation-semantic units, following one after another after a dividing pause... The parceled parts are always outside the main sentence" 9. Punctuationally parceled parts are "formatted" as independent sentences. Such syntactic construction of a text fragment deepens the syntactic-stylistic and semantic perspective of the author's narrative with a minimum of linguistic means used, giving the author's speech a high degree of expressiveness.
The last sentence (Looked ahead) is incomplete. And this is very appropriate, since the personal pronoun or name “Ivan” as a subject in this context is superfluous. It would interfere with the conveyance of the dynamism and drama of the situation being described. The choice of the verb itself is also symptomatic: looked - from the vernacular, it is typical for the speech of a villager, in general - a bearer of the vernacular; in a literary work of art - a “product” of book culture, the word is perceived as “fresh”, expressive against the background of common and book vocabulary. Moreover, by choosing this verb, the author once again emphasizes that the plot situation reproduced at this point in the story is “given” in the perception of Ivan, from his position (see below for more on this).
2. Colloquial and colloquial vocabulary and phraseology when describing the situation in which the character finds himself convey not only the author’s assessment of this situation, but also its (the situation’s) perception and assessment by the character himself. The author thereby expresses his attitude to what is happening as if on behalf of the character. As a result, such a depiction of an episode, scene, or plot situation using linguistic means acquires volume and stylistic stereoscopicity. For example: And another [wolf] left the pack (Ivan sees this). Here, “fuck off” appears in colloquial use - in a figurative sense, to move away, to run away from someone or something. This meaning is made clear by the combination with away from the pack and the context. This word usually has the meaning of sailing, casting off (about a ship, about floating equipment), and refers to colloquial vocabulary. Another example: the fiercest dog can still be stopped by something at the last moment<...>The adjective fierce in relation to animals (mainly predatory ones) is used relatively rarely (there is a stable combination fierce beast), and has an intensifying character (very cruel). It is somewhat archaic; included in the synonymous series: angry, angry, cruel, ferocious. They usually say about dogs: an angry dog. In this context, when a wolf (a really very cruel, ferocious animal) and a dog are compared, the combination “fierce dog” is used specifically. The author thereby emphasizes the special cruelty of the wolf. After all, this is exactly how Ivan perceives the leader of the wolves.
The words warm, spin, shy away, look, dissolve, fall off, fierce - from the scene of Ivan’s fight with the wolves. They convey (along with participation in the description of the scene itself) Ivan’s reaction to what is happening, enhancing the expressiveness of the text and the dynamism of the author’s description due to the “introduction” of a personal assessment of the character - a “participant in the event” - into the objective narrative.
In the colloquial gerund, regretting (in literary language regarded as obsolete, used in folklore texts, with stylization “under folklore”) and the colloquial verb to sense in sentences: Nahum, pitying his daughter, tolerated his son-in-law; [He] sensed something unkind in his son-in-law’s voice—the “voice” of the character, Naum Krechetov, is clearly felt. Firstly, here the verb to regret appears in the dialect meaning “to love”; secondly, the form of the participle in -uchi (-yuchi) contains additional sociocultural information, in this case about Naum as a bearer of vernacular. The colloquial word sense is fully motivated by the tension of the current situation; it conveys the psychological state of Naum, who is afraid of his son-in-law, because he cannot help but understand that he has actually betrayed him, leaving him alone with the wolves. Therefore, I felt “neutral”, only denoting a person’s state; in this context, it would not convey so accurately and voluminously the character’s personal feelings and the drama of the scene.
To complete the description of colloquial and colloquial vocabulary in the dialogues of the story, it is important to pay attention to those words whose semantics and “reduced” tonality are revealed only in oral speech. This refers to words that appear (in the dialogues of a given story) with meanings determined syntactically and phraseologically.
So, in Naum’s remark: On the one hand, of course, it’s good - running water, on the other - trouble... you would have fallen asleep then - the semantics of the noun trouble is determined by its syntactic position as a predicate. The meaning of the verb quit in the sense of leaving behind someone, stopping doing something about him, thinking about him is realized only as part of a syntactically stable combination - see the policeman’s remark about Naum addressed to Ivan: “Yes, leave him!”
The meanings of the verbs accept, earn, pour in the corresponding remarks: - Accepted a little for eloquence; - No, I have to sweep him away. - Well, you’ll earn money...; - I poured the balls<...>- phraseologically determined.
Since colloquial speech in a literary work is not a shorthand recording of live speech, but its stylization, such use of the words just discussed significantly helps the writer to give his remarks the naturalness and plausibility of real everyday dialogue.
In the depiction of the emotional state of the characters, the dramatic tension of the plot situation, in the expressiveness of the dialogues and, to a large extent, the author’s speech, in the recreation of the “naturalness” of real dialogue in the characters’ remarks, along with the vocabulary and phraseology of colloquial speech and vernacular, as already noted, grammatical units and word-forming elements of the same functional and stylistic affiliation. They naturally fit into the general ensemble of stylistic means of expression characteristic of oral informal communication in the conditions of interpersonal communication of vernacular speakers, as well as in speech characteristics characters in the story.
Among the syntactic phenomena of colloquial speech, we note the paratactic combination of verbs (let's go, let's go get some firewood; go for a walk; let's go play chess), the updated word order in the utterance, determined by the context (the previous replica), the speech situation (in the story - complicated by the atmosphere of affective speech), for example : I will beat you, not bark - Ivan’s response to his father-in-law’s interrogative remark: - What are you doing? Are you barking?..; see also Ivan’s remark (it is highlighted in font) in the context of the dialogue: - I wanted to teach your dad a lesson... How to be a human being<...>- Just a little: so that you are human. And you are the skin. I will still teach you.
From morphology, first of all, particles attract attention with their expressiveness, mainly modal particles (they “introduce into the sentence different meanings of a subjective attitude to what is being communicated” 10). For example: get up; poured the balls - then, come on!, yes, because...; What, sit without firewood?; So (indicative particle) why do young people want to go to the city?; Let's go; Well, you'll make money!; see also as part of stable speech patterns: Well, wait a minute!; Damn what!... (they refer to the discourse words mentioned above).
Another morphological means of expressiveness is non-normative forms of different parts of speech (adjective, noun, verb), characteristic of the extra-literary sphere of the Russian national language: the full form of the adjective as a predicate instead of the short form (as required by the literary norm) - he got the horse, and he but still dissatisfied;... and the horse would have been intact; ending of the genitive pad. plural the number of masculine nouns in -tel (Do you know where they put such pathogens? - instead of the normative pathogen); in Naum’s remark, responding to Ivan with obvious hostility towards him, recalling his son-in-law’s remark before going to the forest about the advantages of city life: The teacher has turned up! Snot<...>Moreover, he is dissatisfied with everything: there is no water supply system, you see - the non-normative plural form of the word water supply system is used - the form “potential”, not common in literary language (since this word refers to the designation of technical structures of a universal nature - cf. radio, television, Internet and etc.), however acceptable in affective speech, in a dispute, etc.; non-normative form of the personal ending of the verb to rob (Robe yu-ut! - he shouted in a frenzy, whipping his horse).
From word formation, we note the nouns with diminutive suffixes characteristic of casual colloquial speech: -chik- (Darling and gray. Exposed); and -ishk- (Let's go and get firewood ishk ami; let's go to chess ishk and play); verbal formations expressing the intensity and energy of the action (The whole flock spun around the leader; Nahum whipped the horse).
Literary critics and researchers of Shukshin's fiction have long noticed the continuity of his style with the style of Chekhov's prose (see, for example, the indicated works of V. S. Elistratov, Vl. Korobov).
First of all, they write about Shukshin’s optimally laconic manner in reproducing the world of things and nature, and most importantly - in conveying the inner world of the characters, in identifying emotional tension state of mind, speech behavior, actions of characters, the dynamics of plot situations, scenes, their psychological load.
In "Wolves" these qualities of Shukshin's prose, coming "from Chekhov", are clearly felt in the description of Ivan's fight with the wolves and especially the leader of the wolf pack.<...>A large, busty man with a singed face waved ahead...<...>And now Ivan realized that a wolf is a wolf, a beast<...>This one, with a singed muzzle, could only be stopped by death. He didn't growl, didn't scare... He caught up with the victim. And the look of his round yellow eyes was direct and simple<...>The leader looked directly at the man with his yellow round eyes twice...<...>The leader looked at him again... And this look, triumphant, insolent, angered Ivan. He picked up the ax<...>rushed to the wolves<...>the leader looked carefully and directly<...>
Extremely brief portrait the leader, in which, along with expressive “external signs”, there is also a memorable psychological appearance of the wolf: large, busty, with a singed muzzle; waved (indirect assessment of the wolf's power); round yellow eyes; the look of his round yellow eyes was direct and simple; this look, triumphant and insolent; the leader looked attentively and directly.
Such brevity in the description of the wolf can be explained by the “urgent” needs of the author’s narrative, the development of the plot in this literary work. On the one hand, the drama of the situation of the fight with wolves, the swiftness of what is happening, the psychological state of the character (Ivan) who finds himself in the center of this deadly fight; on the other hand, the entire scene of the wolf attack is given by the author practically from Ivan’s position, in his perception (the wolves reached the road about a hundred meters behind the sleigh<...>And it was no longer funny either; already only fifteen to twenty meters separated him [the wolf] from the sleigh), there was no time to “describe” the wolf in detail, it was important to “grab” the main thing in his external and psychological appearance.
Meanwhile, it is precisely this “stingy” in stylistic colors, practically devoid of “figurative and expressive means,” ascertaining characteristics of the appearance and psychological appearance of the wolf that are due to Shukshin’s general focus on the lapidary nature of the literary style with the ideological, aesthetic, expressive and emotional richness of the literary text. This stylistic feature of the author’s writing style can be consistently traced in Shukshin’s short story prose. It is naturally compared with Chekhov’s prose, with the principles of Chekhov’s stylistics in the artistic depiction of a person, his inner world and the surrounding reality. Shukshina has in common with Chekhov (and this is evident in the story “Wolves”) one very important constructive moment in the construction of the author’s speech, the “third person” narrative. Thanks to this constructive moment, the subjective view of the character is introduced into the “objective” author’s vision of what is depicted without immediate, direct instructions from the author, such as “(the character) thought that...”, “it seemed to him that...”. As a result, the author’s speech seems to directly contain the “voice” of the hero, his perception of plot events, situations, collisions, including in the speech forms inherent this character. The hero becomes, together with the author, the subject of an artistic narrative.
Chekhov undertook such an experiment (and it must be said, an experiment that became part of the artistic practice of Russian realist writers) in “The Steppes” 11, partly in “I Want to Sleep” 12.
And in Shukshin’s stories, including “Wolves,” we see the implementation of such a Chekhovian method of constructing the author’s narrative. Already in the first paragraph of the story there is a “point of view”, “attitude” of Ivan Degtyarev to his father-in-law: On Sunday, early in the morning, his father-in-law, Naum Krechetov, not yet old, an efficient man, cunning and charming, came to Ivan Degtyarev. Ivan did not like his father-in-law; Naum, feeling sorry for his daughter, tolerated Ivan.
Let's pay attention to the verb appear. Along with participation in the embodiment of the main communicative task of the author's speech - the description of the plot situation, this verb also conveys information about a certain (negative) attitude of Ivan towards his father-in-law, thereby preparing the reader for the main conflict of the story. Here the verb to appear, which in the sense of coming somewhere is used in a business style (The witness did not appear in court), is used ironically, with a tinge of ill will, when the speaker wants to emphasize, emphasizes the undesirability or untimeliness of someone's coming to him (cf. the saying " He showed up and didn’t get dusty”). Negative attitude Ivan’s approach to Krechetov is immediately confirmed by the author’s statement: Ivan did not love his father-in-law<...>Obviously, the verb to appear in this paragraph conveys Ivan’s attitude towards the arrival of his father-in-law.
“I’m plundering,” he [Nahum] shouted frantically, whipping his horse<...>
“Is he going crazy?” Ivan involuntarily thought. “Who is robbing whom?” He was scared, but in a strange way: there was fear, and burning curiosity, and laughter took over his father-in-law. Soon, however, curiosity passed. And it wasn’t funny anymore either. The wolves reached the road about a hundred meters behind the sleigh and, stretching out in a chain, began to quickly catch up. Ivan grabbed the front of the sleigh tightly and looked at the wolves.
A large, busty man with a singed muzzle waved ahead... Only fifteen or twenty meters separated him from the sleigh. Ivan was struck by the dissimilarity between a wolf and a shepherd<...>
In this fragment of the story, the description of the situation “from the author” is at the same time given from the position of the character, as perceived by Ivan.
Shukshin combines the traditional method of “inclusion” of the character, his “subjective zone” in the author’s speech (for example: And now Ivan realized that the wolf is a wolf, a beast) and the method of “subjectivization” of the narrative proposed by Chekhov by directly “involving” the character’s point of view, his speeches into author's speech. The test following the above phrase reveals what Ivan “understood” (see in bold italics in this text), but without words that “introduce” the character’s speech, point of view, reaction:<...>The most fierce dog can still be stopped at the last moment by something: fear, affection, an unexpected authoritative shout from a person. This one, with a singed muzzle, could only be stopped by death. He didn't growl, didn't scare... He caught up with the victim. And the look of his round yellow eyes was direct and simple.
A similar thing is observed in the further description of the fight with wolves (a few lines later):
Ivan was gripped by real fear.
The one in front, obviously the leader, began to walk around the sleigh, trying to fit the horse. He was about two meters away... Ivan stood up and, holding the sled's bend with his left hand, hit the leader with a whip. He didn’t expect this, clinked his teeth, jumped to the side, lost his way<...>And again, having pulled ahead, [the leader] easily caught up with the sleigh. Ivan got ready, waited for the moment... He wanted to get at the leader again. But he began to walk around the sleigh further. And another one rolled away from the pack and also began to go around the sleigh - from the other side. (This entire scene is presented solely in Ivan’s perception.)
But here is Chekhov's technique in its purest form:
The leader caught up with the horse and chose the moment to jump on it. The wolves running behind were very close: the slightest delay, and they would immediately fly into the sleigh - and that would be the end. Ivan threw a piece of hay; the wolves did not pay attention to this<...>
<...>Everything happened so monstrously quickly and simply that it looked more like a dream. Ivan stood with an ax in his hands, looking confused<...>. The leader looked at him again... And this look, triumphant, insolent, angered Ivan. He raised his ax, yelled at the top of his lungs and rushed towards the wolves. They reluctantly ran a few steps and stopped, licking their bloody mouths. They did this so diligently and enthusiastically that it seemed that the man with the ax did not bother them at all. However, the leader looked carefully and directly. Ivan cursed him with the most terrible words he knew.<...>
Undoubtedly, in the first fragment (especially the second part of the non-union sentence:<...>the slightest delay, and they will immediately fly into the sleigh - and that’s the end), and in the second (especially that part of it, which is limited to the words Everything happened... before him, and the penultimate phrase) the author reproduces the plot situation exclusively from the character’s point of view, conveying his psychological state, his perception of what happened, the behavior of the wolves, first of all, the leader of the pack.
In his novelistic prose, V. M. Shukshin uses different types of narration, motivatedly combining the traditional construction of the narration and the harmonious coexistence in the “objective” narration (“from the third person”), introduced by Chekhov into Russian fiction, the author’s vision and the vision of the character depicted in literary and artistic work, combining them at the verbal, stylistic level into a common unified discourse, within the framework of which the author’s speech and the hero’s speech merge, and obtaining an artistic depiction of living reality and a person in the two-dimensional range of their perception by the author and the character (see, along with the story “Wolves, and such stories by the author as “In Autumn”, “Stubborn”, “Vanka Veal”, etc.)
Literature
1. Pankin B. Vasily Shukshin and his “eccentrics” // Vasily Shukshin. Stories, M., 1979. - P. 24 - 25.
2. Ibid. - P. 2.
3. Elistratov V. S. Russian truth of Vasily Shukshin (towards metaphysics national character) // Elistratov V. S. Dictionary of the language of Vasily Shukshin. - M., 2001. - P. 402.
4. Korobov Vl. Vasily Shukshin. Creation. Personality. - M., 1984. - P. 191.
5. Quote. From: Soviet literature. Story. Feature article. Recommendation index of literature. - M., 1979. - P. 225.
7. See; Ozhegov S. I., Shvedova N. Yu. Dictionary Russian language. - M., 1997. - P. 114 and 597.
8. For a description of these words and expressions, see the “Dictionary of structural words of the Russian language” by V.V. Morkovkin (M., 1997. -P. 38, 52, 64 - 65, 104, 128,294 - 295).
9. Rosenthal D. E., Telenkova M. A. Handbook of linguistic terms. - M., 1985. - P. 199.
10. Russian grammar. - M., 1980. - T. 1. - P. 727.
11. See: Odintsov V.V. “Steppe”. Innovation of style // Russian speech. - 1980. - N 1.
