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Vasil (Vasily) Vladimirovich Bykov (years of life June 19, 1924 - June 22, 2003) - Soviet and Belarusian writer, public figure, representative of Lieutenant Prose. He took part in the Great Patriotic War, graduated from the war in the rank of senior lieutenant. Most art works of Vasil Bykov are represented by the ones, the action of which unfolds during the war and in which the reader faces the moral choice of heroes, which they have to do in the most dramatic moments of their lives.

Vasil Bykov was born on June 19, 1924 in a small village of bullies of the Ushach district of the Vitebsk region. The future writer was born in a fairly poor peasant family. Later he said that he did not like his childhood. It was a hungry life when it was necessary to go to school, there was nothing to wear and nothing to eat. Its only his Otchay at that time was nature and books. In the summer, he, like many Belarusian boys, ran into the forest, on the lake, fishing. If it had free time, of course. At that time, it was always necessary to work, it was necessary, and forced. After graduating from 8 classes, the bulls entered the Vitebsk Art School on the sculptural department (the future writer, among other things, quite well drew). But he failed to join, he had to leave the school and return to his native village after scholarships were abolished. In June 1941, Vasil Bulls externally passed the exams for the 10th grade.

The war found the writer in Ukraine, where he participated in the creation of defensive borders. During the retreat to the east, in Belgorod, he fell behind his column and was arrested. He was not even shot almost, accepting the German spy. In the winter of 1941-1942, he lived at Saltykovka Station, as well as in the city of Atkarsk, the Saratov region, he studied at the railway school. In the summer of 1942, he was called up to the army, graduated from the Saratov infantry school. In the autumn of 1943, Vasil Bykov was awarded the title of younger lieutenant. He took part in the battles for Alexandria, Krivoy Rog, a banner. During the Kirovograd offensive operation, it was injured in the stomach and in the foot (by mistake was recorded as the deceased).

Memories of this and the events after the injury went on the basis of his future story "dead". In early 1944, he spent 3 months in the hospital, after which she took part in the Yaskovine-Chisinau offensive operation, participated in the liberation of Romania. With the current army passed through the territory of Bulgaria, Hungary, Yugoslavia and Austria. Rested to senior lieutenant, commanded an artillery platoon. During the war, twice was injured, has combat awards. During the war years, he was awarded the Order of the Red Star, after the war he received the Order of the Patriotic War of 1 degree.

After demobilization settled in the city of Grodno (since 1947). Here, the future writer worked first in the workshops, and then in the editorial office of the regional newspaper "Grodno Pravda". He worked in Grodno until 1949, after which he again continued to serve in the ranks of the Soviet Army, served in one of the remote garrisons on Kurilla. Finally, Vasil Bykov was demobilized from the Armed Forces only in 1955 already in the rank of major.

The future writer published his first works back in 1947. However, the writer himself signed his creative activity since 1951, this year he wrote the stories of "Obznik" and "the death of man" in the garrison on Kurilah. For many years, soldiers and officers have become the main characters of his works, and the main theme of the Great Patriotic War - the Epoch of the "Harp of Soviet People". Later, criticism will take its works to the so-called "lieutenant prose", which were bright representatives of which Yuri Bondarev, Konstantin Vorobiev and many others who fought writers.

In 1966, a tack of official criticism called the story published in the magazine "New World", in which the "meat grinder" of the past war was shown with a merciless realism inherent in Vasil's work. Despite this, this work brought the Writer already world fame. And the bulls himself very highly appreciated his Novomirovsky period of life and friendship with the famous editor of the journal, Poet Alexander Tvardovsky. In the 1970s, when the stream of front-line prose in the country went on decline, bulls and did not think to part with the title of "Equal Chronicler." He did not change the topic of most of his works and was not going to forget about the tragedy of the war years. Tale of Vasil Bykov became the classic of domestic literature: "Sotnikov" (1970), "live to dawn" (1973), "Wolf Flying" (1975), "His battalion" (1976), "Go and not return" (1978).

The famous genre for the writer became a story. In the center of each of his works, he tried to put the moral problem that the bulls "dissolved" in the intense military episodes, as a rule, not very extended in time. Often Vasil Bulls said and wrote that interest for him represent those life situations that allow the most fully characteristics of heroes, allow the human essence of the most visible, show it at the time of the brightest manifestation. At the same time, the spiritual points of the heroes of his works ended with death. So, for example, hero his story "Alpine Ballad" (1964) - Russian prisoner of war Ivan, died, saving Italian Julia, with which the fate brought him just a few days, in order to experience the funniest happiness of love after the hell of the concentration camp. The story "Alpine Ballad" became one of the first Soviet literary works, in which the captivity showed not as the wines of a soldier, but as his tragedy.

Also, the action of many of the heroes of Vasil Bykov's works was associated with the life of Soviet citizens during the fascist occupation - in Belarusian villages and in partisan detachments. At the same time, the topic of betrayal becomes the central theme of such works. So the main character of the Tagging "Sotnikov" is able to preserve the loyalty of the debt and humanity, but in his satellite fisherman fear of death takes up, and he becomes a traitor. As a result, Sotnikova executed the fascists, and the fisherman managed to preserve his life with the price of foreign deaths, which carries him to eternal moral flour. She walked on the voluntary death and hero of another Military Tale "Obelisk". School teacher sacrificed himself, saving his students. In the story "Obelisk", the story is conducted on behalf of one of the surviving adolescents, so the reader is given the opportunity to independently understand and draw conclusions about the motives of the deceased teacher's actions.

For his story "Obelisk" and "live to dawn" Vasil Bykov was awarded the USSR State Prize. Living and working in Brest, the People's Writer of Belarus printed in the magazine "New World", and in 1970-1980 he was part of the leadership of the Union of Writers of the USSR. Today, many critics rightly consider his work an integral part of Russian literature. His story "go and not return" (1978), the action of which occurred in the territory of the occupied Belarus in 1942, was staged by the author and was successfully put in theaters in Russia and Belarus. In 1980, Vasil Bykov received the title of People's Writer of Belarus. In 1986, his merit at the writer's field was marked by the Leninist Prize.

With the beginning of the restructuring, Vasil Bykov became one of the first writers in the country, which showed the tragedy of the Russian village in the 30s of the 20th century, when the Stalinist methods brought the peasants to almost to the state of serf and beggar existence. He described the hardest destiny of the Russian peasantry in the story of the "badge of trouble", for her, the bulls were awarded the Lenin Prize. The story described the fate of the Belarusian farm Stepanids and Petroki, who despite all the humiliation refused to serve the fascists. In this story, the most important idea of \u200b\u200bVasil Bykov's idea is embodied: human dignity is more expensive than human life. Also, a new thought appears in this story - that the suffering of the Soviet people during the Great Patriotic War is not random, they are most likely logical.

With the coming to power in Belarus, Alexander Lukashenko, Vasil Bykov, who made a sharp criticism of the regime established in the state, is being prosecuted by the authorities who are starting a campaign against him: it is beginning to be in the media, and works are not printed. At the end of 1997, he was forced to leave the country and go to Europe. For some time he lived in Finland, Germany, the Czech Republic. In "Emigration" he wrote a number of parables and stories, as well as the story of "Wolf Yama", which was devoted to the moral consequences of the Chernobyl catastrophe.

The writer died on June 22, 2003 on the day of the beginning of the Great Patriotic War in the oncological hospital near Minsk. He returned to his homeland a month before his death. He was buried on the eastern cemetery in Minsk, in honor of the writer, streets in Bialystok were named, Grodno, as well as the village of Zhdanovichi. Most of their associations and stories of bulls wrote in Belarusian language, many of them he himself translated into Russian. During his lifetime, after the death of the writer, his works were translated into many languages \u200b\u200bof the world.

Information sources:
http://www.litra.ru/biography/get/wrid/00070201184773068989.
http://www.parta.com.ua/stories/writers/65.
http://pomnipro.ru/memorypage13354/biography
http://ru.wikipedia.org.

Briefly about some works by Vasil Bykov. Bykov itself begins his creative way since 1951, when they wrote the stories of the death of a person and a newspaper on Kurilah. The war will not only be the main thing, but in almost very rare exclusions the only theme of his creativity.

It was from this time that the bulls began to form as an artist to the limit of an aggravated tragic plan. Bykovsky War Space, the Bivkovsky battlefield is always extreme conditions, border situations between life and death, which, as a rule, are completed by the latter. In this space, there is a person in the extreme limit of his moral forces. The early Creativity of Bykov refers to the 50-60 years and includes the most famous Next Tale of the Cravery Creek 1960, the Third Rocket 1962, the front page Other name - Treason, 1963, Alpine Ballad 1964, Western 1964, and also caused a fierce contraction about the concentration The tragic paints of the story are not painted 1966, the attack with the go. Another name is the damned height, 1968 and a rounded bridge 1969. The bull itself gives special importance to the Novomirovsky period, work in the 60s with A. T. Teddovsky.

The new stage of the Mature Creativity of Bykov, who brought him official recognition and world fame, begins with the 70s of the Test of Centulties 1970, Obelisk 1973, to live to dawn 1973, Wolf Farn 1975, his Battalion 1976, go and not to return 1978. Sotnikov was written after the Twardowsky, but, according to Bykov, was characterized by the continuation of the previous trend of the war without embellishment, without barishment and varnishing.

It was a particular relevance and depth of the works of the 70s, the fact that the events of the war were most often as a memory of the surviving characters.

Appeal to the memory of the heroes as it was expanding the artistic space of the work. The storytime, compressed to several days and hours, was supplemented - on the psychology of memories - the events of the entire life of the actors. A peculiar transition to the modern stage of the 80-90s becomes a badge of 1982, a quarry 1986 followed, in the end of 1987, the 1990 clouds, 6. These years reveal the new Bykov with a bright declared epic tendency, with an appeal to the era of the 30s.

And most importantly, the global problems of the rescue of peace from destruction and death are now on the former local material of the bulls. Reflecting on the tasks of modern literature, the bulls supported the idea of \u200b\u200bsuperlitter A. Adamovich. According to Bykova, this is not an irrational something, but the new, the highest possible humanistic sound that literature in our time, fraught with the death of the whole human race, through the streams of the semi-lies, lies and and direct fumeraling of millions would make themselves to the consciousness of mankind, forcing him to stop at the last Features grass after us. Interview by Bykov, Ogonek, 1987, 19, p. 5 At the first stage of creativity, the tragic collision was observed usually by the name of the work - the death of a person, the last fighter, treason, the Western, was not hurt. Even at first glance, a neutral crane cry called ancient legends about birds who belong to the souls of the dead, or, as a last resort, the image of separation, farewell.

In part, this emphasis provoked a lot of numerical accusations of Bykov in commitment to the equal truth, to the roads of war and the narrowness of the observed positions of his work is really strictly local in time and the place of action, they are distinguished by a small population, it is interested in how he emphasized, not the scale of battles, but the scale Human Spirit. They sound reproaches in the tendency to remarkism and existentialism, which in the conditions of the 60-70s meant a vary of civil distortion to the writer.

Essentially, bulls are largely based on the traditions of Russian battle prose and above all on the Tolstovsky principle of the image of the war as it is - in the blood, in suffering, death. Of course, the writer did not pass and past the experience of Western European.

Bulls highly appreciates, in particular, E. M. Remarka and A. Kama, especially the anti-fascist theme in his work. If the remark of bulls is close to its unconfolded image of front-line Budy, soldier solidarity before the enemy, then with existentialism, the work of Bykov is echoing painfully aggravated perception of the human body's susceptibility, the suffering scene of the death of Volodya in the wolf pack, for example, and whether the problem of choice tragic border situation, etc. Naturally, it is especially close to the front-line bull of the mood of Sartra and Camus, which entered the heroic spirit of resistance and believed in the possibilities of literature as civilian humanistic ministry.

But the bulls considers himself to a hypertrophied degree and categorically not the acceptance of the anti-existential art form of the narrative. Military theme commitment has two reasons from Bykov, historical people should know what kind of human price the victory over fascism and modern, as he himself emphasized - we do not go to intelligence today, but we need those moral principles that feed heroism during the war , honesty, courage, sense of responsibility, etc. And if at the beginning of the path of the bulls glorifies the feat of a person who bathes to the last drop of blood, then later he will analyze the origins of this feat - the inexhaustible moral possibilities of the human spirit. In this sense, the movement of works similar to the plot collision is the movement of a romantic story of the death of a person to the fulfilled the deepest realistic psychologism of the story to live to dawn. In the very human nature, the bulls of the Sotnikov, Obelisk, to go and not return and other the possibility of heroic in its essence opposition to chaos and madness.

In the context of 1945, this meant in addition and faith in the ultimate victory of a man over inhumanity.

The story of the Alpine Ballad is characteristic of this regard - the only romantic story about the love of Love, not by chance named by Ballad.

Heroic Requiem for the young Soviet soldier, the price of his life saved his beloved, sounds performed by Julia itself against the background of the amazing beauty of the mountain landscape - the heat of blooming poppies on the Alpine meadow, the snow-white cleanliness of the vertices, the bottomless blue sky - and three days of love after escape from the camp, huge like eternity, days of love and unimaginable happiness.

Love and a miracle of this love - son - illuminate Julia the rest of his life. The opposition of the characteristics of the antipodes of moral height - the lowness determines the compositional structure of not only the famous Sotnikov, but also the front page, the third rocket, the Krugan bridge, later - to go and do not return and others. And again, bulls will lead the reader from his war characters to modernity, because He knows lovers to substitute the Middle to blow fate or bosses to hide himself for his back, did not translate and today questions of literature, 1975, 1, p. 130. The nature of betrayal is always one - it begins with a small transaction with its own conscience, but ends with complete destruction of the person. The modern stage of Bykov's creativity may seem somewhat unexpected now at the change of the heroic situation comes the situation deadlock. She partly outlined already in the story that the name of the misfortune was not enough. It is not only about a huge folk tragedy caused by the fascist invasion.

In the story is interesting and peculiar, much clarifying the exit to the 30s, which, tied in the work of Bykov, not two modernity and war, but three epochs. But there is also an idea of \u200b\u200bthe initial doomes of two elderly heroes, who will not be able to accept fascist barbaria, but no longer have forces not only for any effective struggle, but even for a reasonable confrontation.

And the point is not at the age - their forces took over the previous life and hard labor on almost fruitless land, not by chance called Calvary.

It also appears in the story itself - a burnt tree, reminiscent of the crucifix, which is precisely the background of this doomed, an absurd phantasmagoric idea of \u200b\u200ba bomb that finds and hides Stepanida.

The same story of the trouble and the same in the end, the career is becoming an absurd, who rolls the hero of the story of the same name, trying to find at least some trace of the beloved loved by his fault, in addition to the fallen child. Then he rushed, not finding out of the impasse of distrust towards him who had captured him. Now he realized that Maria was given to him for happiness, and not for the atonement, that the greatest value of the world in any circumstances is the only and unique human life.

I understood, but late when nothing could not be corrected - neither the destiny of Mary, nor his own life, no relationship with his son. It should be noted that the dead-end situation arose in the works of Bykov and before - in the story, the other name is in the story - one night - about the initial meaninglessness of the war, on which the soldiers are German and Russian, just saved each other from death in the fallen home, are forced again to each other shoot.

Or in the Western - about the sadistic idea of \u200b\u200bthe fascists - to let go in captivity of the invoicier so that he was killed by the shot, suspecting him in treason. Almost a quarter century, this plot collision will respond in another sign of the trouble - the partisan story in the fog. The monstrous absurdity -37 years, all the neighbors knew sushchi not just as good, but as a special, crystal clear, honest, conscientious person - the whole family they had such.

The betrayal for him was simply organically impossible. And suddenly - they did not believe him, they believed the fascists and sentenced to the shooting the same story cry for what - the cloud. Another badge of trouble, but now on the new for the Bykov, the material is degradation. The clouds on the illegally repressed person, whose link looked down his wife and daughter, and he himself fled to the last consolation - to see his native land. And so the fellow villagers, led by his son, who know that he was not guilty, pursue the chrvedor, arrange a cloud on him, as on the beast, and in the end, they drive into the perillery.

The fate of the participant of Azevich's degradation of Azevich, under pressure, but still signed by once and left in the terrible military time of the fortune room only next to the sinister dog - Vurdalak is such a new tragic line at the Bykov philosophy of history, the worst situation is when a person It turns out in a dead end, in the Western, in the swamp - on the last shore, in the last line, where even the heroic death will not prove anything and do not correct.

Upper, the region can become a nuclear or bacteriological western, environmental signs of trouble, genetic catastrophe, bloody interethnic conflicts and fratricide confrontations inside the nation. The works of Bykov recent years have demonstrated the shoche of consciousness of the absurdity of existential, which allows for which it is impossible to bring a separate person, not all of humanity, because the refund from there is no longer possible.

End of work -

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Problems and heroes of the story of Vasil Bykov "badge of trouble"

A multifaceted gifted rustic boy from under Polotsk, one of the most ancient centers of Slavic culture, did not immediately gain his calling. Perfect .. But in 1940, the scholarships are canceled, and by throwing bulls to study, looking for earnings - .. was twice wounded, had well-deserved awards. Literally miraculously saved in Kirovogradchin, where until the very last time ..

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Almost all the works of Vasil Bykov are talking about the Great Patriotic War. This is largely due to the fact that the writer himself passed it from beginning to end. The events of the war he considers above all with a moral and philosophical point of view. Describing the behavior of people in inhuman conditions, the bulls makes us think about the sources of the inner force, which is inherent in its best of its heroes. In the story of "Sotnikov", the writer convincingly shows that this force practically does not depend on the physical possibilities of a person and the entire field of the Spirit.

In the images of the main characters, the works are embodied, as it seems to me, the features of the two opposite types of personality. Once in the situation of moral choices, such people behave but different: some make a betrayal in exchange for their miserable life; Others show durability and courage, preferring to die with a calm conscience. Thus, in the story of Vasil Bykov, two partisans are opposed to the fishermen and the centuries.

At first, the fisherman seems to us quite sincere person: he helps his sick comrade, it shares the last grain with him, is not angry due to the unspecified burden. In his own way fisherman kind. He could not kill the headman, although he believed that it was necessary to do.

Fear for his life first manifests itself in the fisherman during the chase, arranged by policemen: at first he wanted to quit Sotnikov, justifying himself what was still not to get out. "But what will he say in the forest? "" It seems to me that it was this question that made the fisherman back to the comrade. At that moment, it was still important for him that others would think about him.

When they were discovered in the attic of the detech, the fisherman "I wanted to be the first to rise by the centuries." But there was no strength, he continued to lie. And the fisherman got up first.

At the interrogation, frightened torture, the fisherman answered the truth, that is, I gave a detachment. When he was offered to serve Germany, "he suddenly experienced freedom." The fisherman not only agreed to enter the police, but also helped to hang the Sotnikov to confirm his willingness to serve them. He thought only about freedom, hoped that she would run away, but after execution I understood, "that with escaping it is that it was cleaned with reliable than the belt chain with this elimination. And although they were left alive, but in some respects were also eliminated. "

Thinking about the whole happened, the fisherman "could not really understand how it happened and who was warned in this ... I really didn't want to be guilty myself." He justified himself by the fact that he fought for the life that "in his misfortune, most of the other people were to blame for the other ... that he was already indifferent in a loop on the arch, and what is him, alive! ..". The fisherman does not notice that his feverish attempts to whitewash themselves unwell and illogical. In the final of the works, the author will tell about what happened to this hero - "This is the insidious fate of the person who worked in the war."

Others appears the path of Sotnikov. From the very beginning, we guess in it a proud and stubborn person. He went to the task because "what others refused." The inappropriate cold appeared to the Sotnik's trifle, although it becomes clear from further narration that he was sick seriously. Nevertheless, the Sotnikov refused to eat and medicines proposed by his wife's heads, because "he did not want this auction of good and ... he could not agree to her sympathy and help." Remembering how one day the same simple woman gave it to the policemen, he suspiciously referred to the goodwill manifested towards him in the house of the head.

Feeling the approach of the Politsaev, the Sotnikov thought that, "... While alive, he won't let them down to himself." This man was not afraid of death, he was only "scary to become for other curb." And he was "frightened, he could lose consciousness, and then then the worst thing happened that he was most afraid of this war." Sotnikov decided not to give up alive. The fact that the fisherman returned, he "referred to the usual soldier mutuality," but "would not have anything against fishing assistance, whether it faces someone else." He himself never wanted no support, it was "disgusting to all his being."

At the interrogation of the Sotnikov, first of all tried to save the Detech, who suffered because of them with a fisherman, and before the execution, unsuccessfully tried to take all the blame for himself. He spent the last efforts in their lives to meet the death of "with soldiers' dignity."

Sotnikov was a man who under no circumstances to a deal with his conscience, and he left life with the consciousness that he did not stain his soul. Until the last hero tried to help people who, as he believed, got into trouble because of him.

So, in front of us are two absolutely opposite character. For their best disclosures, the author often uses internal monologues of heroes through which transmitted, for example, the fisherman fluctuations at the time of the persecution, meditation by Satnikov, which goes to the execution.

Characterizing the heroes, bulls use the episodes of their childhood. We learn that the Sotniks also gave himself an oath never lie. I think that the Father played a big role in the formation of this person. It was he who brought up honesty in his son, straightforward and resistance.

Vasil Bykov's story tells about the events that have happened more than sixty years ago. However, we, readers of the XXI century, it is interesting not only from a historical point of view. After all, the problems of honesty, conscience, justice and humanism stand up to our generation. How to be? What to be? How to keep in yourself human? Book of Vasil Bykov"Sotnikov" Helps us to answer these difficult questions.

Vasily (Vasil) Vladimirovich Bykov was born in 1924 in the Belarusian peasant family, in the village of Chernovshchyna Vitebsk region. In the prewar years, he entered the sculptural department of the Vitebsk Art School, one of the best educational institutions of the country. But in 1940, due to the abolition of bull scholars, it is forced to quit schools and look for earnings to feed the family. War found him in Ukraine. He fought the commander first the shooting platoon, then the platoon of automatic gunners and the platoon of anti-tank guns. He was twice wounded, had well-deserved awards. Literally miraculously escaped at Kirovogradchin, where the obelisk stood until the most recently, whose fraternal grave was carved and his name. Bykov learned about this after many years after the end of the war, having visited the place of bloody fights, and saved him then a happy case. Heavy wounded, he crawled out of the hut, which fascist tanks were destroyed in a few minutes. Then they picked it up, apparently, the Sanitars of the other part, and in the shelf, where he fought, counted the dead, sending the mother to the "Hardwood".

After the war, the bulls served in Ukraine, in Belarus and in the Far East. In the fall of 1955, he began working in the Grodno Pravda, writing correspondence, essays, feuilleons. And since 1956, his stories began to appear in the republican press. However, his literary fate of Vasil Bulls calculates since 1951, when he wrote the stories "death of a person" and "prominent", published several years later. At the same time, the first student of creativity V. Bykov N. Buran noted that in 1949 two stories were printed in the "Grodno Pravda" - "That day" and "in the first battle" that never reissued. Apparently, this is due to the fact that bulls their early literary experience found it necessary not to include in the creative period. War will become not only the main, but almost the only theme of the writer. To the question why he only writes about the war, V. Bykov answered: "Probably because the war has passed a comprehensive and there was a place everything ... during the war, more than ever, nor before, not after it, the importance of human morality, inviolability major moral criteria. "

In the works of Bykov, there are neither grandiose tank battles or decisive operations. "I'm interested in," he wrote, "first of all, not the war itself, not even her life and the technology of the battle, although all this for art is also important, but mainly the moral world of man, the possibility of His Spirit." The spatial-temporal organization of the works of Bykov focuses on extreme situations, border between life and death. A person in these conditions is always in the extreme limit of its moral and physical forces. Step by step leads the bulls of his heroes through the chain of cruel circumstances, gradually exposing that the main thing is that they are laid - the strength of the Spirit, the unshakable belief, moral uncompromising in some, the foolishness, the unprincipledness, dying worn, cruelty in others. Thus, it is morality and morality that determine the behavior and choice of a person in critical situations. The early work of Bykov belongs to the GG. In the first story, in the opinion of the writer, the "death of a person" the world extends no further than the look of a seriously wounded soldier lying on Earth. At first it is a high forest grass, a fern bushes, a branch of a young alder over his head. Then, when he moves to the road, he will see terrible traces of a recent battle. Thus, war in this story is exactly as much as she accommodates, this person carries.

At the first stage of the creative path, the tragic conflict was declared in the very name of the work, for example, "the death of a person", "the last fighter", "loss", "dead", "and others, even seemingly neutral heading of the story" Crane Creek " Creates, on the one hand, the allusion of ancient legends on birds, carrying the souls of the dead, on the other - the separation symbol, farewell. In the years, the bulls will write several "peaceful" stories related to memory of war, "at night", "traces on earth", "bad weather", "happiness", etc. and only with the story "Crane Creek", written in 1959 The writer will return to the image of the war and will discover a new "unity" of artistic thought - a genre of a story. After a few years, the bulls will tell about this selection as follows: "Taketing for a new thing, I know for sure that it will be a story ... I do not feel cramped in this by a genre. I think this is a very capacious form of prose. " In 1962, in the journal "Friendship of Peoples", three stories "Crane Creek" (1959), "Front Page" were published (in Belarusian - "Treason" (1960) and "Third Rocket" (1961), which brought a wide writer wide Fame and was awarded the Republican Award named after Yakub Kolas. This stage also owns and the story "Alpine Ballad" and "Western" (1964), "dead" (1966), "Attack with the go" (1968), "Krezhunsky Bridge "(1969) and others in the" Crane Creek "all events - a few hours from the life of a small group of fighters are comprehended by the writer in the aspect of the relationship of heroes to their military debt. In the study of characters in the structure of the local story (limited space, short time), the writer introduces "The principle of binoculars", approached directly to the reader. The enlarged plan of the vision of the hero allows you to allocate in the nature of the main thing.

The principle of organization of the story "Crane Creek" is due to the goal - to analyze the motives of the behavior of people, heroism and cowardice, oscillations between the debt and fear. In the story, consisting of the head of the head, devoted to each of the characters, disclosures inconsistency, the complexity of the inner life of wheat, Gukechik, Fisher. The spatial-temporal boundaries of the story "open" by retreats into the past heroes, in a pre-war life. In retrospects, the memories opens the story of character, its formation. In the story "Front Page" noticeably complication of the situation itself, in which human moral capabilities are checked: the moral "fight" of three soldiers who returned to his after unsuccessful battle. Blishansky, who, inserted on the path of betrayal, is opposed to Shcherbak and Timoshkin, people are courageous, honest, principled. Thimoshkin meditation about the future is the most important fragment of the narrative in the disclosure of ideological content and the common pathos. There is reason to talk about the journalism of this fragment, when Timoshkin's private reflections are transferred to the general, the author's plan of philosophical and journalistic understanding of what is happening. In the work of Bykov, the most important part of the plots was permanent overcoming the heroes of the military space, requiring the full return of the vitality and absolute concentration on the momentary action ("Wolf Floss", "Alpine Ballad", "Sotnikov", "to live to dawn", etc.). So, the events of the story "Circle Bridge" begin to unfold only at the very purpose, at the bridge. However, the writer was important to show how difficult, the space of partisan-demolitions was overcame. Therefore, in the composite-narrative canvas, their path could not be omitted or only designated as technical details.

Thus, the circumstances in which the heroes of Bykov are acting, changeable, unexpected, full of transformations and tragic turns. At the same time, there is no degree of consideration in them, they fully belong to military time and space. These circumstances are either associated with the difficulties of a certain period of war ("Crane Creek", "to live to dawn"), or with the course of hostilities on some segment of the front ("Front Page", "Third Rocket", "dead") . The second stage of creativity, brought by bull, official recognition and world fame begins with the 70s. At this time, the "Sotnikov" (1970), "Obelisk" (1972) were written, "Wolf Fly" (1975), "His battalion" (1976), "Go and not return "(1978). The peculiarity of the creative manner of Bykov is that every work with all its independence, completeness and completeness, at the same time is a certain kind of continuation of its previous books. This trend is particularly bright in the titles of the so-called "partisan" cycle: "Circular Bridge" (1969), "Sotnikov" (1970), "Obelisk" (1972), "Wolf Floss" (1975), "Go and not return" (1978). In them, as in other works, the bulls seek to show the moral components of the spiritual world of man and the verge of character who predetermine his behavior, revealing the force or weakness, heroism or betrayal.

Among the "partisan" ages, there is not one, where children would not be depicted. The Jewish girl of the Basia and the Children of the Detechikhi ("Sotniki"), Vitka, who died on the bridge ("Krezhunsky Bridge"), Volodya, quietly deceased in the forest dugout ("Wolf Floss"), boys of frost ("Obelisk") - all they rarely turn out In the author's focus, but every time their image is swaying and the sharp feeling of their defenselessness before what should happen. A kind of transition to the modern stage (80-90s) becomes a "badge of the misfortune" (1982), then follow the story "Quarry" (1986), "In the Tuman" (1987), "Clouds" (1990), "Foot "(1993). During these years, the bulls discovers a new ideological-thematic range with a bright declared epic tendency, with the appeal to the era of the 30s, the story of the "badge of the trouble" writer expands the horizons of his creative search, artistically exploring new layers of people's life. In 1986, the Lenin Prize received for this work of Bykov. One of the first, who responded to the appearance of the "badge of the misfortune" was G. Blannov, faithfully noted that "in any of his (Bykov) former things were not so naturally transmitted by the simple course of life." For the first time, the past heroes carrying the most important additional meaning and historical depth, acquired artistic equality with the present. Thus, the bulls showed the binding role of events, which largely determined the fate of the generation, the destiny of the country. It is not by chance that at the very beginning of the story, he talks about the "continued time of all-encompassing human memory, endowed with the eternal ability to turn the past in the present, to associate the present and future."

During this period, the situation of "deadly" comes in the work of Bykov to replace the "heroic" situation. However, it should be noted that it arose before in the story "Curse" and in the story "Western". But with the new force, this plot collision will manifest themselves in the possessions of the "cloud", "in the fog", "plug", whose heroes are in a dead end, west, in the last feature, wherever heroic death will not prove and do not correct anything. The choice of the Military Top of Bykov is due to two reasons: historical (people need to know which human price was won by fascism) and modern (as he himself emphasized) - we do not go to intelligence today, but we need those moral principles that feed During the war years, heroism, honesty, courage, sense of responsibility, etc. And if at the beginning of the creative path the writer glorifies the feat of a person fighting to the last drop of blood, then later he will analyze the origins of this attachment - the inexhaustible moral possibilities of the human spirit. In this sense, the movement of works similar to the plot collision - from the romantic story of the "death of a person" to the story of "live to dawn" by the deepest realistic psychologism.

Awards Leninsky Prize (for the story "Badge"; 1986) The State Prize of the USSR (for the story to "live to dawn" and "Obelisk"; 1974) The State Award of the BSSR named after Yakub Kolas (for the story of "Wolf Freight", "his battalion"; 1978) the Literary Branch of the BSSR named after Yakub Kolas (for the story "Third Rocket"; 1964) People's Writer of Belarus (1980) Hero of Socialist Labor (1984) Order of Lenin (1984) Order of Patriotic War 1 degree (1985) Order of Friendship (1994) Order of Labor Red Banner (1974) Order of the Red Star (1944) Medals, including: Medal "For a victory over Germany in the Great Patriotic War, GG." Jubilee medal "Twenty years of victory in the Great Patriotic War of the Russian Federation" The anniversary medal "Thirty years of victory in the Great Patriotic War of the Russian Federation" Anniversary medal "Forty-year-old victory in the Great Patriotic War of GG." Jubilee medal "50 years of victory in the Great Patriotic War of the Russian Federation" Francis Medal Skorne (1994)

Thesis work on the topic:

Question artistic peculiarity of the ages

Vasil Bykov

Introduction

In the mid-60th anniversary on the pages of Soviet periodicthe discussion about the form of the age of Vasily would have taken placekova. The discussion continues until now: and now writing the bull is expressed about the form of its lead.

Opinions critics are different. Some critics categorically condemn Bykov. So M. Flowers approves: "Bykov cannot overcomegenre limitance of parables ... Spirit and essence of war hourthen they remain out of sight of the artist, art total customizeto the moral scheme of the work ... Bulls examines not harackers, A. modeling behavior. He needs NOT SITE situation, and the situation. In the situation plays a role not concretened her, not details, and the opportunities that it gives for testing a person "on the Highest Codevennities ... Not living people act, and types that embody different levels of morality "(25, 162-167).

Takovo e Opinion S. Baranova: "The Didactism of the Writer is manifested in the archtectonics works "(28, 168).

Possible similar opinions make first of all the expressionwriter himself: "My heroes always listen to me ... go there, where I lead them ... I carefully think about the plot,characters "(19, 119).

The processed plot is the key to the fact that the story will turn out. "PRdummy plots are hardly inferior to the plots of unadumbled "(27, 231).
wewe see, the development of the story of bulls begins with a detailed plan. The final is especially designed. Moved out images, turns in the plot: all this should be submitted in advance the logic of characters and circumstances. So the writer works. Bykov itself is reflected in its style: we see a "focused, unstrained and a little ironic person" (26, 221), working butwhose, Wishine, alone with his heroes. Presence Pisatein his signs, it is impossible to be called open and, nevertheless, it is obvious. The structural structures, the commitment of Bykovto the same principles of form and gave grounds for the fieldmiki. Still more faithful to us seeming critics opinions, not condemning the unconditionally bykovsky tale for her form, but trying to find both its dignity and disadvantages. The opinion of N. Lazareva, indicating that "Bulls seekscreate a peculiar model of moral problems taken in its limit option "(12, 95).

More precisely judgment I. Jubes: "Bykovskaya tale - a situatorno-modeled story ... The triberateness of the structure of the Bykovskaya story may be that it gives concentrated Moral lesson "(27, 160-162). Most argued to us seems Opinion A. Adamovich: "There is an increasing tank of bulls, a complicating genre as if in addition to the presentations - "parables" ... truthlessness it becomes an additional color, genre and stylist "(14, 113).

Near the weighty, completed opinions a lot of Sumdenia, only in responding to the very fact of the existence of controversy. CRtick \u200b\u200bM. Smallkin notes: "From the story-parable, the Bykovsky story is different" (24, 211), - but nothing justifies his opinion, not the UTOhonors what exactly is different. Critic M. Kursinau states: " The hero is programmed by the belly as a tragic personality "(19, 120), - But, not only that the phrase is too abstract character, we do not know how the critic himself belongs to "Programmingtee "hero.

We showed a state of discussion about the form of Bykovskaya visionti today. It is written about the work of Bykov a lot, but often research is so fragmentary that we have the right to say,that the study of the writer's creativity is just beginning. Commonsput of critical works: few specific, accurate conclusions, going from text. Critic estimates are often very similar. Maybebecause the form of the researchers seems to be one-waydifferent. Easily trace the trend to dissolve everythingbyshikov's rates in the author's humanistic concept. Often the same writer words are given.: "The most important thingeretura is true "(26, 221)," Talent is a pipe to sound like alarm "(13, 5)," War is a lesson of humanity "(13, 6).

Critics very attracts the humanistic concept of Bykov, but the simplicity of the concept is apparent. Therefore, the superficial should be considered the opinion of A. Petrova: "The system of thoughts of the hero of Bykov is high" (15, 103). Also the superficial opinion of O. Mikhailova: "Conscience - driving start of the History of Bykov "(21, 178). Researchers push me, but they do not prove them. Typical position Critica M. SMOlkina: The researcher believes that the prose of Bykov is philosophic, - but the critic himselfin its analysis does not make "philosophy", limited only constate fact. Critic diligently retellse behalf of "his battalion", even though it is not related to the tasks research. Critic F. Zubanich unfounded in detailagains the biography of the writer. Sometimes literary criticismthe biography of the writer or the content of its individual ages is so detail that itcontrary to the general nature of research.

Analysis is often replaced by the comparison of Bykov with other Piscestelevisions. For example, A. Petrov compares the style of Bykov with the style of other Soviet their writers, I. Jüb, seeks the similarity of Bykov with Ploigant and Foulinno, - and the analysis loses concreteness. Only comparisons I. Dedkov seem to be reasonable: the researcher indicates the historical roots of the entire Soviet, Belarusian literature about the war,including the prose of Bykov.

Crane Creek (1959)

From discussing the status of criticism about the writer, we turn to the analysisseparate works. "Cravery Creek" (LCD) is the first story of a writer translated into Russian. The story is group portrait. Six characters, six very different people, at the beginning of the story combined only with vodka, makes it impossible: stops onthe grounds of the Germans. Each character it takes its climbing to the feat or descent to betrayal (the central theme of the entire creativity of the writer).

Climbing not so much from life to death,how much as climbing to under vigu. Fate characters unexpected: calculating wheat, nesolved to the Germans, the Germans kill; Obligible to war art historian Fisher kills a German officer. Characters dot Miral discoveries: the wagon of Carnacoit is that Fisher underestimated, Essayev, first afraid and re shive to surrender, fiercely fighting.

What is still characteristic of the first tale? The writer finds the dominant as lariacifications of nature, So in the characters of heroes. Follow the description of Nature on the length of the text. Text small by volume: just a hundred pages - and features it is easily viewed.

"The autumn harness-wind clapped the door" (2, 5).

"Wind Bil corner of the cloak tent, ripped on the chest long prominentki "(2, 6).

"Wind with mad autumn rage" (ibid., P. 9)

"The wind has survived cold tears from the eye" (p. 11)

Dominanta is indicated for sure: the wind. For Bykov, it is important to the reader "Held" the atmosphere of the wind. For six countriesnIC LCD (12-17) of Nature Descriptions No: The past of onewow from characters. Then describes descriptions again: "The wind verse, but began to rain "(p. 25).

From one dominant, the writer goes to the cdrug; The start of the rain prepared in advance:

"Clouds poured the sky. It became even anxious and colder "(p. 9).

"Rain all flowed" (p. 26);

« It rains densely "(p. 27);

« Rain beat all the church "(p. 29);

"Rain Rain" (p. 41);

"Squeezed rain" (p. 61);

"Raw darkness of the night" (p. 66);

« Black night flooded everything around "(p. 67).

IN The last description of the night is likened to rain.

So, a quarter of the story - in the wind, the next two quarters - inrain, and the sun appears in the final. Descriptions of nature are given so tight that the reader does not forget what the weather in the story. The final is unexpectedly lyric. German attack begins -sun is sunk: "Low sun smiled sadly" (p. 88).

Bulls rarely resorts to metaphorization, it is always restrainedon and functional. The image of a sad smile of the Sun appears By the end of the story, at the beginning of it - another metaphor,oblossing with the above: "Like a crippled hand, Cool barrier stretched against the sky (p. 5). It is important that the barrier the mind reminds the hand of the dead, speaks of death. Hand image - once again in the middle of the story in the same sensehenign: "... cold ice hand" (p. 62).

The image of the hand is characteristic of the 8th anniversary. For example, V. "Front page" (1960): "The alarm of the bony fingers squeezed the hand of Timoshkin" (4, 11).

In "dead not hurt": "... Promahand - Tanker "(magazine" New World ", 1966, number 2, p. 36).

In the context of the LCD, the image of a dead hand is opposed to the image of the sun. Bulls emphasizes: Heroes Gibnet, but the sun remains, life remains. Here the attack passed, inone Glechik remained out. "His stopped big eyes wouldwhether empty "(p. 95), - says the writer, - and we understand, seeing these eyesthat with the life of Glechik connects only debt, duty to die like his comrades died. Gradual increase in tensethe stories in the final is allowed in lyricism. In thisfrom a terrible moment the author becomes a lyrics, gives narration heat

and confessionalness increases his invisibledivision.

"Glechik face turned to the Sun" (p. 97),

"In the shower Glechika beat Creek Zhuravl "(p. 96).

Lyric and the symbol of the cranea symbol of flying out of life.

In each story, Bykov, we could highlight the dominantnature. In the "front page" it is the sky:

"Sky frowned" (3, 7),

"Low Sky" (3, 9),

"Mounted almost on the mostearth sky "(3, 15), etc.

To "live to dawn" it is snow: a rare snowball was raw full of day, and in the evening there was a snowball "(1, 347),

"The sky is almost merged with the snow-covered field" (1, 353) and etc.

IN each story these descriptions create an atmosphere,

complement to another important dominant: characters. O DOMINANthose characters we will talk at the end of our work, when analyzing "Sign misfortunes ", a story that saw the light recently, but thisan hour will continue the analysis of the LCD.

Bulls always describes the past of their heroes, it is not so much a literary technique as philosophical argument.Bykov himself as an artist faced in the past - and his heroes are allgda comprehend its past. In the LCD Heroes - Bulls so diligently emphasizes their "non-dedicacy" that their faithit would be called characters - live in their past, in the carran retreats. So opi the past is only wheat and Fisher. Past Carpenko is described compressed and accurately in the form of sleep and after that complemented by the author. Past alive in Gleychik before death:

"For a long time I was still heard by Gleychik crowded grief and despair shoyful carae cry. And in the shower from an unusual reminisantthe delicate and threatening gentle, dear paintings are distant, what has become past, irretrievable and so infinitely loved (p.98).

Tale ends on a high note that characterpno for a writer (remember the death-minded memories of Ivanov sky, hero "live to dawn").

In the story there is a phrase, often found in other hangingtyah: "Karpenko could not reconcile with the fact that people were given to him no choice "(p.32).

It repeats, for example, to "live to dawn": "Lieutenant i knew them badly (his comrades on the task), but notit was not "(1, 348). Heroes tied war, they have no time to get closer, understand each other; This is one of the reasons why for them so the memory is important.

Vasil Bulls made the topic of creativity: "Every mindolch viciously. Need the truth, whatever it is. We falldried to know how much this victory was given to us "(8, 25). "During the war the imbibement of the main moral criteriaeV ... fruitfully look for a common denominator, common philosophical root of the truth of our existence and truth of the war ... I am interese the capabilities of the human spirit "(6, 127).

We note the gram culture The default statements: the 50s in Soviet art is the theory of conflictitality in the literature, the era of "Malokartinya "in the cinema. It was in the 60s that the sphere is expanded.aesthetic, the psychological discoveries of bull are possible ov. "In the work of Bykov, the reality of the 40s broke throughsmiling through memory and fucked, absorbed the temperature aboutblend 50-60s "(14, 120).

We have the right to talk about a special form of Tale: "Bykovskaya"lead It is characterized by an acute publicism, an acute post novka problems, its signs are so obvious that there were formulationthese are the first critics: "Household, even a little shy ... and at the same time courageous, strictly discreet intonation. S.sky frames are limited to the framework of a combat episode. Small volumeeat, dramatic narration, seeming slowdiness. Generalization of what is happening. Allocation of the main characterterry actors "(18, 219). And another trait marked by the researchers much later: Lok altitude of the place of action (12, 53).

Front page.

Go to the analysis of the next story of Bykov, created in1960: "Front page" (FS). First of all: the heroes "White" (Timoshkin) and "Black" (Blissensky). That The story remindsone of the first stories of the writer "In the first battle" (1949), in which the characters of the characters are sharply opposed tothey are through dialogs. Characters of the characters of the analyzed story formed, "ready" by the beginning of action and during the eventschange. Blisserin analyzed only through perceptionTimoshkin: All the actions of the character are given in the estimates of Timoshkin,and even about his past we will learn from the past Timoshkin. Denialthe testicular hero is not independently disclosed, it is only tough "correlated "with a positive hero.

Events in the FS seem unreal: they are too much, and happenedthey are in close proximity to the Germans. This is still "stupid "German, still stuck in cinema. Eventsas such is hampered by the disclosure of characters, the reader is not in the power to comprehend the course of events, because their followermystery turned into a mysterious game. Description of the past - purelyexternal Reception: This past is unnecessarily in detail, and in the text it is not clear how emotionally worries its past moshkin. The past is recreated dry and busily. In the misstAh arising between heroes, the presence of the author is more real the presence of the arguing themselves. Past ineptly "inserted" in pagestalle story.

As for this story, the rights of critic N. Flowers are Rights: Obviousbut the desire of Bykov to the "laboratory purity of experience", the structure of the story turned into a "moral scheme" (25, 162-167). Writer Sam established the causes ofuadachi: "Apparent truths of the proofkayt from laconismal narration and compression of action; maybe, From some fictional depletion of the plot and style. Obvioussometimes gives herself to know the primacy of ideas over the form "(6, 139). So, the author himself calls the reason Failures: This is "primate" ideas over the form. In this storythe speech did not justify himself.

Experiment - the tradition of Russian classical literature (take at least "what to do?" Chernyshevsky). Experiment in Bykovskaya Tale First of all,salted character: the situations in which heroes fall, often khoes, but always different characters of heroes. The main thing at Bykov - not conflict a story, not its climax, but setting upregular problem. It is the moral problem that organizes material, she is prim than. For example, organizing the center of "Western" (1964) - Voloshin character. Bulls "stresses" the conflict shows it through the eyes of fighters; so develops a conflict thatter Voloshina is detected with all depth.

One base the concepts of Bykovskaya stories are the concept of a "limit situation".It is close to the consciousness of a modern man.Right Kursinau, who said: "In the conflict of bulls, it is looking for a culmination point and, finding whether the character of the character is departed," (lead the BSSR Academy of Sciences, 1981, number 5, p. 118).

In the works of Bykov, the story was always collected Vast uG climax and therefore cannot be long. Overcoming Timoshkin Pain - Development Stimulusha racter. Same stylemul - and the hero "live to dawn" of Ivanovo, and inthis famous story writer seeks harmony artistic agents. Final story - its climax and pricestr composition. Ivanovsky picks up a conflict story, we we see how his character changes. Interpretation by the author of the characters of their characters we let's call "cognitive" (term Pospelov) (9, 97).

In the FS characters of the characters empiric, we see dim that the writer has not yet learned to subordinate personal experience litterary tasks.

The reason for failure is in the author's dictate. Bulls so "Ostranyl" memories of Timoshkin about himself that they live samostearfully, separate from the fighter. The author is sometimes straight offhero his memories and sometimes they are dry states. Such "scissors "their own between the hero and his pasts may be explained injust because the Moralist's Bulls departed by the artist. The rectilinescence of artistic means is explainedit moralistic, the desire to replace the psychologism with descriptions and direct copyright statements.

The writer himself recognizes: "I used to tighten the moral nodes by all means, which is sometimes too repeated gesturebone design "(11, 258). This is the position of the moralist. It iscleares why for early kiskov "individual as it were insignificantly next to type "(11, 39); explains why when transmitted timesthinking thought from the hero moves to the author-journalist. IN analyzed Tale Publishing as such suppresses other components of the artwork, are self-smoking. If in the LCD "Natterydecomposes into several subjective spheres, but the organthe author's point of view remains "(22, 45), then in the FS Heroes are challenged by the author.

What is the inherent one of the first stories of the writer? Already in this early story there is a sensitivity of Bykov to Eastorinitiate. This is the ability to embody character in distinctive unexpected form marked criticism. Here is the opinion, in particular, S. Baranova: "Bykova search heroic not in a separate exclusiveacts, but in the folk basics of characters (17, 11).The heroes of Bykov Prosesoup ideological clarity and activity, bulls exhibits soviet man tragedy. Last specialsit is notified by the first serious researcher of Creativity Piseline - Belarusian critics V. Buran (13, 99). With all the originalsrefers to their own mistakes sustainable massrovrovnia, his story is loved by the reader's environment, his behavior sTI understand. Showing heroes in action, in development, in an unexpectedthese turns of the plot, the Writer innovative solves the problem of realizing the personality of its capabilities. Hero Muden.the writer expresses his rejection of the War - And this is the only possible position now when the questionwar is so acute. Heroes of Bykov operate in war forty years ago, but the truth is their behavior of modern. OTwriter's Writer - the ratio of each of us. And we, not saying wars in Russia, according to the leads of Bykov - let not only on them -we hire about the war, we study on them to understand the war.

Tale often end in death, because the tests, which are exposed to heroes, exceed human capabilities. Man is tested on heroic. To emphasize thetier tests, bulls choose heroes with sustainable strong character: such a hero can change only in special, terrible circumstances. Bulls in everything: and in characteristicsrA and in domestic details, and in the past heroes chooses only the most important thing is necessarywithout which the story would be incomprehensible on the. This kind of "stale", the exact calculation relating to thede total structural elements, and gave rise to a discussia about the "Bykov model". Note that the discussion of this model, the joint ventureoer about her, they are approximate in themselves, for "We should not forget the conventionality, the approximate of the term"Model" nor expect the accuracy from him that he has inexact sciences and technique "(10, 18).

"It's not painful" (1966)

We continue to analyze the works of Early Bykov. We have already noted that in the description of the past Timoshkin Bullov-Moralist overshadows the artist: Bykov inventingpenal childhood and hero youth, but the typicity as such leads from the hero itself: Timoshkin is alien to his past, eventshe does not experience his past emotionally as if theybelonged to another. In "dead not hurt" (MNS) we would also not be so gly split the author and hero narrator. Early bulls are looking for themselves in constant embodiments in the hero--Scake, but in the mnbtypical no longer overshadows individual: we see living, unadumant people dee. There was a paradoxical situation in the story: Hero Vasilevich lives in our time only because he has what Sunto remember. Bykov opposes military and our time: went war - there was life, and the broken sick heart remained, the squabblein a restaurant with a military, young people who live some of their lives. Vasi Levich wishes them, although it does not understand them. War for the hero - "Awareness of force, human lessonchesky dignity "(8, 25), but in the present it does not live, but onlyloudly. Created by B. printing "Present in the past:gda, the present is poorly connected with the past is functionally and just he does not need. The events in the story are numerous and rapidly, their jumble prevents their meaning to understand their meaning. The text has many frills and incompleteness, plot connections are weakened. Too many descriptions of elementary mental movements. Criticism noted "Unjustified adhesion of emotions, total demonstrative assessments of people" (13, 139).

There is also an "Alpine Ballad", written shortly before the MNS, in 1963. The text is filled with literary beautiful. Here is a description of the heroine: "Girl with burning beauty" (3, 189);

"Julia looks wet tired bird" (3, 203)

"Julia Merno Praises" (3, 248).

"Julia's face squeezed with a light spot" (3, 285).

The same aspiration for beautiful phrases and in the descriptions of the hero:

"Ivan I almost pops up a heart from the chest" (3, 186).

« As always, the world has ceased to exist for Ivan, giving up monthsthen a messy nightmare dreams "(3, 190), etc.

It is rightly noted by criticism that "the romance of the plot and stylistics of the story is external." (12, 66). Criticism noted I. "Semantic allegority, romantic flavor,the erosaturation of the monologues "(13, 81). Publicistic The author's statements directly invade subdition and OSmake it. For example, (13, 271).

We analyze the failures of Bykov only in order toto call that the search for a writer was painful. It will be appropriate here briefly stay on the past Vasily Vladimirovich Bykov. He walked all the war in the rifle shelf, got into the joint venturethe excavation of the dead, but survived. All this has repeatedly retelling we are written about our author. The writer himself says: "Longthe life of the infantryman in the rifle shelf was numberedbike months "(6, 132).

"During the war, objective reasons forit was stopped to exist, they were not taken into account. There was a rush in the sea of \u200b\u200bsuffering "(8, 25).

TO rica very often retell a writer's biography, but a connected story did not succeed in any of them. Poetwow and we avoid talking about biography facts, do not paysmiling not to any words. Biography at Bykov alone: \u200b\u200bThis is a war. Ofnumerous group of Soviet writers writing about war, only about war writes one bulls. Ten years after the war he pisal little, just served in the army; as he says, "dismantled in the mother le ", in the accumulated experience.

Most early storieswhat is not translated into Russian into Russian. With the best readings readspruce could get acquainted in the collection "Crane Creek" (Moscow, 1961). Analiz of these stories is not included in our work goals. Note only the fact that the story of the Early Bykov we analyze intranslation and therefore some aspects of studying creativity pithe squatter for us is not visible. For example, tools inherent inoutstablishing a writer: "Svyzhany windy light shoesrunning at the vertices "(13, 26).

This brief excursion can and limit the researchthe early creativity of Bykov, as not directly fromwearing to our work.

Obelisk. (1972)

Before us is the story of Mature Bykov "Obelisk" (O). Here POS.loie also "Live" of this: all drama is concentrated in narration about the past. The past and the present is no longer divideds: The story about the past is natural, firmly connected with the present, it is necessary to follow from it. All the attention of the story focused on one hero: frost. Philosophical thoughtoften precede descriptions of nature; Landscape actively participatingit is in the story, saturated with a journalistic thought. The author creates a rhythm, moodnarration, skillfully activating the attention of Chidirty. The image of the author acts asorganizing Style start.Patos of the author's assessment, the publicistic "I" author - on on the second plan, behind the text. Itself work form, documentedthe story of the narrative, a special pathos of the speech of the weft (the basis of the story is the witness of the eyewitness) turn the story in fromindoor journalistic dispute. First-person narration creates a special sense of confidence, intimacy.

It the descriptions of nature and the preceding, guessing the thought of the hero, contribute to the impression: "I listened to the weathered and subconsciousflax absorbed the solemn greatness of the night, the sky, where his own, inaccessible and inexplicable began over the sleepy earth the life of the stars ... I thought, how to disturb and unnatural in your highly beautiful ancient myths "(1, 303).

P about the genre of the story is defined as "Heroic-journalismkaya "(22, 46), as" framed story ", like" Micromanoman "or"stagnar "(17, 170).

And in "o" we can not divide the present and past, they are one withthe audios of the author - but the main story is deployedin the past, and the "background" of the past: the present - blurred: students, arriving for the commemoration of the teacher, remain out of events. Tkachuk does not explore psychology Frost: Then the narrator turned to the author.The narrator gives events and their assessments, and we see that infusionhow wrong before the past, that the past is sometimes not lerko lives in the present, but also turns out to be trueher him. In "O" polemicness - open reception. Publicristian indicates the significance of the death of frost: "Death is absolute proof. "

In the lead two climax: the solution of frost is learning children and the death of frost. The sequence of culmination is organizedreading attention. The same goal is also the exposition: the hero decides unexpectedly for himself, narrationimmediately acquires dynamic and sharpness. Composition Center - the death of frost. Death collects all journalistic and hangingtweener energy in a single event.

The feature of "O" is that feelings and actionvia Frost make up one unit. It is impossible specify the moment when the feeling goes into action.

In the same 1972 year, another story was created by the bull:

"Before live until dawn. "

In 1974, two years later, for "O" and "live to dawn" (DRD) a writer awarded the statenaya Prize.

In the analyzed DRD, the past organicallycomes to life in the present, and the present - war - finds in the past forces; The hero of the story Ivanovsky goes through the snow and remembers trying to distract from the wound in the leg. As you deployedbeing, with the approach of death of the hero, his memories go all deeper, become brighter, stronger. "Switching plansthe past and present occurs most often instantly inknowledge of the hero, and from the first phrases the past ceases to feelas events of another time ... if the memory of the past scrap is not directly related to the plot, then its appearance is determined by the character of reflection "(22, 68). Past helps Ivanovsky Climb over your own pain for the hero of the memoirs immediately become his life. Past - a huge reservoir of thoughts, sensations that are directly related to events.

In the death moments of loneliness, pain, despair Ivanoworse tightens all his life in the brightest: About love. Memory acquires bright colors. The hero is no longer only comes to life in his past, but he is looking for himself, looking for In itself, the past, which would give him strength.

It was in DRD bulls managed to comprehend artistically not only the life of Ivanovo, but also its own(Recall that Vasil Bulls - 1924 year birth, from its generationalive only three percent remained alive). The fate of the hero T.pichn for the bink generation. In Ivanovsky come to life himself Bykov, and even though the story is conducted from a third party, wefeeling like the author is close to the hero, as, can be said forhe trustly leads the hero to death, as a terrible, but notbypassing the end associated with the suffering, but also with the joy of the consciousness of the accomplished debt, with the joy of overcomesuffering. With the death of the hero, his past continuest, death Only shows that otherwise Ivanovsky will not surrender.Death is a temporary, frequent outcome of the works of Bykov. OSCEtinsuance is stronger than the hero, they lead him to death, but not fear of death drives the actions of the hero, physical pain, the general state of psychological instability is not remelted in fear: the heroes of Bykov "go" not in fear, and inpress. The writer "lifts" his heroes, Wowhowever, in moral issues, bypassing naturalism.

Early bulls are often naturalistic. Hero story "In nerVOM battle "(1949) faces (literally!) With a tank. In Raskaza "Fight" (1959) SESSERS every day of several militaryintrunted to be touched by wolfhounds. In the third raket "(1961) Fighter bury his brush.

But, the growing, bulls rarely gives the "photo" of injuries. He describes not injured,but the physical pain itself, the effects of injuries,accurate manifestations of pain, describes briefly, immediately leaving in op isanie mooring moral. In addition, the suffering themselves, effortsheroes directly on the plot are not reflected: the hero is all gda overcomes suffering - but physical pain itself plays the role of milestones, marks, points of coordinates on the way from life toof death. Ivanovsky "Donimiates" despair, but paintings aboutcrook are deployed consistently and connected. We are clear that this connectedness writer brings from himself, solving his artistic tasks. Important at the same time what "strapsbulls make thin and artically convincingly, SKextra descriptions of physical movements are related to descriptions. Nature that merges with psychological state ivanovsky: snow, shrub, field, road, river closelyus with his mind, he emotionally perceives theseirode landmarks.

Note a special role of snow. In the story the snow is not only as a picture of these events, but also in memories. SNeg immediately becomes one of the dominant of the narrative. Crubblesnow Estapoly on Psychological the state of the hero: "The lieutenant felt how everything was spinning in some thoughtless rotation." (1, 387). Ivanovo attentioncalleal to everything that does snow, he is accurate and carefully fickthe details of the winter, transformed landscape scenery:

"Lace Vych shrubs, with rare blots of young elockers. " (p. 391) "... Rejeamed grivy shrub ... The wind has a graceful, curly styles" (p. 399).

The hero is constantly metaphorizes the snow, constantly comparing it with something: "The snow has become loose, like cotton, and frost-pending" (p. 357)

Snow creates color contrasts, paints Tale:

"Black and white confusion of branches on white snow" (p.358).

"Bright white space" (p. 357).

BUT thoster of snow permeates all the work. In Dr. Dominata "Snow" plays an exceptional rol. This is artistic, metaphorized snow. Snow millmortifying the independent hero of the story. Whole, connectedthe descriptions of nature with the psychological states of the DRD is distinguished among all the stories of the writer.

Space and time

In connection with the analysis of O and DRD would be appropriate to say about space and time in productiondenia Bykov.

In: "Since the minute, like me (Tkachuk)set the decision, time was risen for

i am on some specialschedule, rather, the feeling of time has disappeared "(1, 274).

DRD : "The thoughts of Ivanovo bizarre branched in time and space" (1, 449).

Time and space in the thoughts of the heroes appear in solidminutes: Tkachuk unexpectedly for relatives, and lozfor funeral, Ivanovsky is shortly to deathes love.

Bykov has no creative concept, except the requirements of rightsdy. In this sense, non-acceptance notes. Truth Hero Bacauses death. But this does not mean that the writer does not have its ownindeed categorical thinking. With two categories we alreadywragled: about the category of past and category of the landscape. Highlight two more: space category and time category.

Performing combat tasks and just life itself in warbykov is associated with motioneat acting persons in a special bivkovsky space. If in the mnb, where the heroes come out of the environment, the space is the transition it is uncomfortable, at random, and events are so many that the heroes do not have time to comprehend their movement, then in ddR "In the rhythm of the narration livesyazhko granted space "(11, 78). If space in MNS - indefinite, elusive, then in DRD it filled with the forebodings of Ivanovo, itlives at the same time with the hero. Bulls not only accurate geographically and, but he conveys how the path is physically overcome and, above all, morally.Bykov "lifts" the hero: Hero, an ordinary person when performing a task,"Support hchchuty "takes only the most important thing. Bulls combines Kon.the harness of the hero, his individual "I", with a heighthis spiritual manifestations. The maximalism of the author does not turn into assection, moralism, but embodies in the specific actions of the hero.

Double crisis situation - internal and external crises - Dovedit to the limit, with the ultimate force reveals a breed andhis "small", and his "big" "I". The hero does not have the abilityhumanity, not flair, and her instinct.

All Bulls collects his extensive experience, concentrates mal.of the time lapse, and the instinct of humanityamong other people's associated debt, necessity perform the task. Hero outside of casual ties, spacein which he moves, he is hostile, he is focused only Wet that he directly surrounds. In such "nothuman "atmosphere Ivanovsky defends his own Justice, cares space, fights inside it. The characters of the writer can live, only carrying out their high ideals, the author immerses them in fear of obscurity, in physical pain. Udkowa "Scary" is always functional; This is "terrible" obligationflax scary for the hero, it does not exist in itself.

The failure of the "Alpine ballads" - in the external character of the literaryspaces Tale: Hero runs at random, his path is unorganized, chaotic. No thoughtful tight installation in the organization spaces, difficult to coordinate and other artistfunds, because the author-publicist force invades the postboss; Everything is separated: the author is one, the hero - the other, the space - the third, opisanya nature is the fourth, etc. Explicit inconsistency of Hu.cretacent means.

In DDR, the author "leaves" in the hero,and judgments about war we perceive already as Ivanov's thoughts but not the author. These thoughts are short and bitter.The hero does not live in front of everyday life, but that "life", which need to fulfill the task (combat equipment), outlinesit is scrupulously. It makes the space even more tangible.

Features of time in story. "Art Time tale - psychological. The image of it adds to conshero Research Institute "(22, 69). The plot and babulling time works do not coincide. The narrative is focused on Ivanovo, Writer Openingonly it is it - and maybe therefore it is revealed deeper,than the characters of other leads. Note the continuity of the story and phaance time (even more convincing this reception - in"Sign of trouble"). Special Research requires a relationship two real streams of time ("total" time of war and "chasotage »Group time (with art time, Category itself psychological time, its continuity, ratio withsouth and Stabuli Time. Critic noted Concrete, time compression in DRD.

Time category is difficult to analyze due to the fact that the story is deployed in several time plans: the war, the collection of the detachment, the novel about Captain Walh, the pre-war past Ivanovsky. Role

past in the entire structure of DRD very complex and in comparison with the "bad story" is not thought outenough.

Genre

Bykov identified his genre as a "little story" (13, 136). The writer is distinguished by the problematic unity of the lead: we see in them moral conflicts, in our philosophical content very reminiscent of each other. From this follows only that bulls are not a philosopher that his philosophy is in concrete situationrations: the disconnection does not exhaust the conflict, does not put the point, but begins a new story.

For example, the last line in the "badge" sign: "But the bomb was waiting for his o'clock ..." - displays usoutside the work in a new, not yet written a story.

The genre of the writer is not a tribute to fashion (Moden Roman) or tradition, the genre is a point of view, this is how the artist sees the world. In Jean.the diversity of the diversity of Soviet literature attracts the sustainability of genre signs by the Bykovskaya story. This is stablebone sharpens, makes obvious main in his creativeve: the writer decides, first of all, moral tasks. Within one genre, all new and new contentall new and new compositional solutions. The concepts of Jean. ra, genre interpretation of character could become a point fromaccounts in our study. To determine the place of vision tay Bykov in the genre system of Soviet literature, it would be necessarylo would analyze genre trends in modern literary process. Comparable analysis and gavevet.

Genre peculiarity of typical of characters is the fact that the heroes of Bykov are tightly included in the length of time,described in the story. Epicness of the narrative, small volumetales are combined with the fact that the character system lives in the belts of the main character. The main character is required outly experiences its past. So sharply that it can be the subject of art. The plot is always placed shortzok life of a person who includes and present and the past, and - since the hero dies - and the future of the hero. Is that alltherature funds and genre including are subordinated to one: show the hero in the hardest, suicide moment of his lifesni.

In literature there is a tendency to neutralize the term "genre". "The story is only the genre designation, only the term" (9, 13); "The genre is neutral to the unique personality of the work ... the genre acts as a factant Stability ... Genre is a reflection of the famous completedthe asset of the stage of knowledge, formula produced aesthetic truth "(9, 24). Noted The tendency to abandon the genre as suchto turn the concept of "genre" into the conditional term, in etiquetteku. This trend was not reflected in the literature on Bykov as opposed to another tendency based on the conceptbakhtina, on its special "romance" interpretation of the genre.

Tradition of this concept in critical literature about Pisatel is obvious. For example, V. Duran when analyzing MNS notes the "approach of Bykov to the romance form." (13, 150).

Special position occupies critic S. Baranov. In his opinion,"The story and novel, developing, how to come closer to each otheroM. " (17, 183). We also note the other interesting statement of criticism: "Tale of Bykov is characteristicproximity to the novel. Each story has in his OSnow a clearly designated nodelist nucleus. " (17, 166). We v.dim, critic brings closer to the concept of novel, story and novels, but his position seems to us contradictory.

Studies about the writer generally worn fragmentary character, the concept of "Bykovskaya Tale" is only noted, only recognized as existing, but its development is not yetstarted. Critics often indicate only genres of individualstey.

Despite the genre definition of Bykov, on his dostasno tough genre structures, we do not disappearsUSTING SUCCESS. Writer expanded volume genre. We note the historical relevance of the genre "Byhkothe story ", the persuasiveness of its genre sources (tradition belarusian and Russian literature). No matter how complicatedass Genre Picture, the interaction of genres, was incorrect would question their originality and even their ownexistence. In the inter-car dialogue that pretended in the workmilitary writers, the story of Bykov occupynote. On the one hand, a serrated dialogue, on the other -genre interaction, genre mutuality tay of the writer himself. It is important to see both sides ofwriter's works.

The main thing in the genre is its genre content - associated with the style of the writer. Take the definition of style from the study of the bull. "Style consists of: 1. The nature of the conflict

2. Composition.

3. Details of subject image: details of actions, relationships, experiences, statements, appearance of characters, environmental conditions

4. Whether in the work of the work "(15, 94).

In our work, we affect all these components without connecting them with the genre: with the existing state of the study of the poetics of Bykov, it would be premature. While we are not able to talk about the typology of the Bykovskaya story. The genre study of Bykov has not yet begun. Bykovskaya, the story enriched an understanding of the "Tale" genre, a specific comparative analysis confirming our words would require a sharp increase in work.

It should be noted that the tissue of Bykovsky ages is complex in its genre fullness. The tag of the tale always includes biographies. The accuracy of the detail is that the impression of documencies is created. Details of characters, actions are also very accurate. Two genres inside the Bykov tale we indicated.

The biographies in the works of Bykov are most often very sauard, the unity of the material is characterized: the writer retains the nature of personally experienced events, personal experience, but the events themselves lose a subjective color, become part of the entire history of the people, one and general are inseparable. On this statement, we are forced to leave the analysis of Bykovskaya Tale as a genre.

"Sotnikov" (c)

The peculiarity of the story, seen the light in 1970, - in Sucongatory Congatory Film, Lari Filmsy Shedpko "Climbing" (1975). In general, we adhere to chronological order An. aliza ART, but when Isslwe retreated this story from the general rule: C is the most famous work of Bykov, and allpeaceful fame it received twice: as a literarywork and as cinematic. The nature of our study this story is comparative.

The writer himself said about the kinema: "My books oftengive in the theater or shielded. But often unsuccessful. Is not my mistakes. I think the on-screen version "SotnikovA ".. The work of Necko characterizes primarily psychological insight. She isnot so much recorded the story of characters as she was in my story, but deepened drama characters and situations "(7, 126).

First of all, the story and movie relatives the style of the narrative: if the reader is constantly next to the heroes (effthe view of the presence), then the same effect seeks to filmra: She is sensitive and live, she conveys what is happening in the showerFisherman and Sotnikova.

We see hesitating, spinning spiritual the world of fisherman, frequent "raids" film chambers transformingmiddle plan in large. Tale, hitting a different genre system, other genus of art preserved its own problems and yesthe same, according to Bykov, deepened it.

The plot writer develops with scrupulous accuracy - and this accuracy retains this accuracy. But, When switching to other type of art, detailed reproduction withit turns out to be insufficient: you need to learn internal composition Tale. Movie reproduces itbut the conflict is transmitted by other, cinematic media: The nature of the connection of actions and thoughts of the hero is created visual nearby.

There are no internal monologues in the film: Kinocamera "G. oRAUIT ", reproducing the thoughts of the hero, and the entire intumepodicthe film composition follows these thoughts. In the story, the parable pathos is very expressive, it is the main thing in conduct; In kinema, the main thing is the analysis of the psychology of the fisherman. The main thing in the story - the internal dialogue of Sotnikov in the fisherman - is put Shephen into the basis of the narrative; If bulls not immediately and will certainly condemn the fisherman, then the whole moviebuilt on the confrontation of "Sotnikov-Fisherman".

Goal and Bykova, and Shephenko - "penetrate the essence of character, comprehend the circumstances, the formatives" (12, 34), but, Unlike from earlier leaders, in C we see not only disclosure of character, but also its formation. Such is situatedlala has a dialogical form of a story. Tale has become discovery for critics: about it the greatest researcherkay literature.

I. Damkov in his book about the bull writes: "In"Sotnikov", it seems, for the first time in Bykov, the sphere of psychological thirty not only rigidly motivated, but also that rises from the depths of mental life "(11, 245).

Critic clarifies that and how much the sphere of psychological, - and we find the answer in the film. More precisely, one of the possible comestov. Shephenko chooses such filmmagic agents, what is revealed primarily by the psychology of the fisherman. If the Bykov, the fisherman and the centuries are present in the mind of each otherhectares and their invisible dialogue develops not definitely in favor Sotnikova, then shephenko "straightens" the structure of the story,immediately turning the dialogue into confrontation. We see Naturelisadically transmitted, a peculiar "fear agony" fisherman; on this fear, this desperation of the fisherman Shephenko is wrongbut focusing all attention. If there is a testa counteranger, which is equal to the Sotnik, then a fisherman, and how the consistency of this, the structure of the story of the dialogic, then shepherd sharplythe Satnikov confidence will make it a majestic. Wherein fisherman's doubts are put in the center of the post.

Known by the words of Bykov: "The fisherman wants to live in spite of the waythe moral deafness does not allow him to understand the depth of its fall "(7, 130).

First, the writer even justifies the fisherman: his crime is only in "moral deafthose". In the story, the fisherman is doing to betrayalthe way we see the capacious, ambiguous dialogue of the heroes, but in the film, hundreds and fishermen are extremely generalized, the dialogue is alreadynot between the heroes, but between good and evil. Evil analyzesxia, evil triumphs, and good shown as eternal, but flexiblepower. Here, the fundamental difference between the bull and Shepherd: The writer analyzes good, director - evil. And hangingtJ, and the film is the classic of Soviet art, but the difference is aboutitems in the fact that the approach of the writer and directorthe opposite: Bulls analyzes the hero, director - traitor.

In the story we see how sharply the writer begins to change the angles, the angles showing the heroes - but also in the filmneither the film by the film constantly changes the angles. In storyonly in the scene of the execution of the dynamics of the relationship of images, doodling accumulating as the story develops, breaks through, becomes clear. In the scene executionand the film is especially close to each other, the dynamics of the WTO movierit Dynamics Tale. Criticism It is noted that in the film the Sotniks loses dynamism, transfers its fisherman (20, 88), but in the scene execution director lines the dynamism of heroes. Dynamicthe interaction of the images of heroes to the end and a story, and the film is accelerated, its rhythm becomes more often internal dialogical detects itself in a constant, sharp countersupply Sotnikova and Fisherman.

Since the cinema material is not a word, and optic the image and means of cinema require greater certainty,decision Shepherd to sharpen the conflict - the only rightdecision. The story became kinem.

Authors of other shields - for example, Stepanov, directorfilm "Wolf Flash" (1975, Yarshshov and Sokolov), film creators "To live to dawn" (1977), - less carefully reacted to the literary source. In the "Wolf Steak" sounds a voice-over voice, to "live to dawn" the plot is changed:the wounded shot, scouts explode the base, in the moviesthe narrative has a military chronicle of those years. OS filmsthere are unnoticed, organic combination of literature and cinema, as in the film Shepherd, failed.

Finishing the "Sotnikov" analysis, we give two accurate forhanging Critica Adamovich: "The angle of vision of the author in" hundredscove "narrowed and pointed to perception of one of the characters" (14, 131) and "Writer itself leadcharacters, his consciousness generated, often entering into a dispute with himself "(14, 135).

"Wolf Flying" (1974)

The best story of Bykov is the "badge of trouble" (1983). Before go to its analysis, we will analyze one more, in our opinion,int. the heroic work of the 70th anniversary of the story "Wolf Flying".

The narration begins with the arrival of Lechuk, the hero of the PEEsTI, in a big city. The hero is fully immersed in the past: us thinking to such an extent alien to Levchuk, as if he levchuk himself - from another life. Externally reachingjustified by the fact that Levchuk lived for many years in the village butthe writer sharply sharpens the motivation, immersing the hero in his memory, in his past. Hero moving by passionate desire push the present: "Levchaku for some reason wanted to be transferred to some other after and this house, and the upcoming meeting. " (4, 4).

Levchuk talkswith children - and, of course, about war. He feels guilt before the present - and it is the nobility of this feeling "ourselves" the present.

The sequence is as follows: at the beginning of the story, the present is supplanted, and then The narration is entirely transferred to the past. As in Obelisk, Bulls applies reverse perspective reception: present and past changes in places. Reception is laid in samom's story: Levchuk arrived at Volodya Platonov, who was born during the war, just at a time when the events described in the story occurtia. In the exposition, the writer emphasizes: Levchuk arrived not just to visit, but meet your past, most expensive that he has - and therefore he wants his presentpush off "for some time."In the work we see a number of traits inherent in the late cove. If the heroes are struggling in MNSin the "Wolf Steak" this struggle is complicated The struggle hero with himself. The meaning of the narrative of deepersymbol: Birth of a child in war. Levchuk saves not only yourself, but also your future. We see how we are bornand survives the future. In the story of the events of war and meeting lionchuka with Volodya move towards each other, butspeech, which was supposed to become a finale story, bulls does not depict: the writer is important only that the future is alive it is not analyzed. Such is the logic of Bykov.

ABOUT scriptures of nature are very stingy and accompanied by accurate details. Equally functionally and use of metaphors:"Griboed and Son got closer to their misfortune." (4, 23). "Nadezhda melted as ice floes" (4, 37).

Speech characteristics are diverse. Bulls often mixsewing jargonisms, military vocabulary and local. For example: "U me of the SPT itself (the brand of the machine) on the variety under the straightif anything, I am His (German) Sleeping Slock "(4, 29).

"Badge of trouble" (1983) (ZB)

On the example of this story, we will show what the newelk in the poetic writer. New is first of all dreams. In the zb, we note two sleeping beds:"Petroku has long dreamed of some worms, a whole tangle" (5, 16); "Petrifs saw a bad dream ... some kind of confrontation with a fangy snout was leaned from rat hole ...yatnaya ... Petroca launched Kolun in the angle. " (5, 42); and Two sleep Stepanids, Wives of Petka: "Stepanida has once again dreamed at night that her house burns" (5, 32)."She dreamed like she climbs on a high mountain ... Cargo it entails her down, and legs slide "(5, 122).

Dreams in the posts of Bykov we met before. For example, in "Crane scream" only one dream and this is a dream-memory.In DRD, when Ivanovsk is shortly beforeiy remembers love, we can not say definitely: the dream is, a terrible obligation caused by the desire of the hero to freefrom pain, or just a painful state. Writer Majorbut only the fact that the hero remembers.

Completely different - in the analyzed story. In zb sleep - thoughtfulliterary reception, sleep is no longer mixed withand is an independent artistic agent. Three sleeps from four preceded the events of the work, fourthy sleep, sleep Stepanida - in the final of the story.

Heroes see high-quality dreams. If the dreams of Petrocomplete, terrible, then the dreams of stepadids are rest: in the final she the dies of the unsuitable house. About grief appearing in her possmelly dream, let's say separately. Central note symbol - Calvary. He permeates all the narration, appears inall three temporal plans: in the early years, in the 30th, duringthe forms described in the story. At the beginning of the narrative it isrA with Earth, very difficult for plowing. Petrock "wins"liu - and therefore the mountain is the name of Petrokova Calvary. In the future, the course of the narration image of the mountain turnsin a symbol of suffering. Central symbol of all creativityatelier - symbol of climbing (hence the name of the film), but in the context of the zb symbol is closed with biblical. INthe death-sleep dream of Stepanid sees his Calvary, andcovers are accurate in motivation: before the death of Stepanid, the samelaya blow up the bridge, it's a long time with a bomb, barely, barely shifted it a little bit.

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