Wild dog dingo main idea briefly. “What captivated me in “The Tale of First Love”

Composition

Let's take a closer look at the story. Its main character, Tanya Sabaneeva, is a schoolgirl, still, essentially, a child. She experiences the first painful feeling of love, which leaves a strong imprint on all her behavior, thoughts and feelings, causing her the first and quite severe suffering.

Let's honestly imagine how such a feeling, such experiences and suffering are still treated in the family, at school, in the pioneer organization? It is in the theater that we favorably and even enthusiastically follow all the vicissitudes of the love affair between twelve-year-old Juliet and young Romeo, but in life in a similar situation we are often very far from enthusiasm. And even, to our greatest regret, we are incredibly far from caring and sensitive towards those who have been visited by this sublime feeling.

And so the writer wrote a book not about something approximately similar to love or only hinting at this feeling, but about the most authentic first love. Yes, this love brought excruciating suffering, as is almost always the case in life if one loves deeply and seriously. But at the same time, this story is about light, pure, poetic love. The writer spoke directly, without mincing words, about the strong feeling that visits teenagers, and ventured to highlight the dreams of the young heroine, while at the same time telling about the dramatic relationship that developed between world-wise people - Tanya Sabaneeva’s father and mother. Thus, the heroine of the story, to top it all off, turns out to be from a broken, as they now say, dysfunctional family. Tanya's mother and father are divorced. And then her father comes to the town where Tanya lives with his second wife and, in addition, his adopted son. This arrival causes a storm of emotions in the soul of poor Tanya. And her mother, who continued to love her husband who left her, was not happy either.

Tanya needs to determine her attitude towards her father, to whom she is drawn and cannot help but be drawn, and whom she is ready to blame for the fact that they live apart. She cannot have good feelings for her father’s new wife, and especially for his adopted son Kolya, who took from her, she is completely convinced of this at first, his father’s affection and tenderness.

There is nothing unnatural in the fact that Tanya, not yet knowing or seeing Kolya, hates him. She will hate him and after she gets to know him, she will take a closer look at him at school, where she will have to study with this Kolya in the same class. And then it will happen that for the first time in her life the girl will fall in love with... this particular Kolya. She will fall in love, despite the fact that her most devoted friend Filka is constantly and relentlessly next to her, like a shadow. He is ready to do anything for her, truly throw himself into fire and water, even eat a stearin candle from the Christmas tree. But love, as you know, is whimsical. She has little service and devotion. So the story becomes sharper and sharper. This poignancy reaches its climax when Tanya, tormented by the first strong feeling, even blinded by it, asks her mother with cruel directness:

* - Why did father leave us? Who is to blame for this, answer me.

How difficult it is to answer such questions. Not every writer

will pose such a naked and directly similar question. This requires true courage, that true fearlessness of the artist, which allows him, without looking away, to face the truth. R.I. Fraerman was just such an artist. Having directly posed the most difficult life question, he forced his heroine to answer it directly and honestly.

With what courage and at the same time with what kind sympathy this complex and important scene in the story was written, how accurate the psychological drawing is. Both heroines cry, but these tears are so natural and understandable that they cannot be taken as a sign of weakness.

The writer does not make the harsh truth easier, does not stuff his reader with its substitutes, talks to him with all seriousness, believing in his spiritual strength and cultivating in him true courage, a willingness to withstand difficult trials. One can only guess how many people, having read the above scene, began to understand something that is very difficult to understand in life, and having understood, they felt relief, gained prudence and courage.

The vital depth and courageous truthfulness of Fraerman's prose, combined with lyrical softness and special emotional sensitivity, make his books accessible to young readers and at the same time interesting for adults. This is genuine literature, which, like air, like bread, like truth, is needed by a person from the very moment when he begins to feel the need for true knowledge of life, when art for him becomes not a means of pleasant pastime, not even only a source of aesthetic pleasure, but and a powerful tool for knowing yourself and the world around you. This, I think, is the main secret of the fact that Fraerman’s books are published, so to speak, on equal terms for adults and for children, and have such a wide radius of influence on readers.

Composition

Many will rush to answer - with a topic. But there is no need to prove that the topic itself, no matter how attractive it may seem, has never brought lasting and lasting fame. Yet the theme certainly grabs the reader's attention the moment he picks up the book. What happens next depends on how honestly and seriously this topic is resolved, and whether certain life material has been studied deeply enough. This story has all these advantages beyond doubt.

But this is not the only reason why it has attracted the voracious attention of readers for several generations now. The hearts of readers, and especially young ones, are attracted to the image of the main character of the story, Tanya Sabaneeva, perfectly sculpted by the writer. It's worth taking a closer look at it. At first glance, there is nothing unusual about Tanya Sabaneeva - she is an ordinary fifteen-year-old schoolgirl, the writer has not endowed her with any external distinctive or even any remarkable features. Only a very insignificant little touch may seem a little unusual - Tanya, along with the boys, is interested in fishing. In all other respects, we are not yet talking about the inner world of the heroine; she is a completely ordinary girl who can easily get lost in the general crowd of schoolchildren, say, during a big break.

And this, I think, did not happen by chance; without singling out his heroine from the general environment, the author pursued a specific goal. Getting acquainted with the anxious and tense life of Tanya Sabaneeva, the reader does not separate her from himself. The awareness that she is the same as all her peers allows readers to recognize themselves in her, and in her experiences and painful thoughts to see similarities with their own experiences and thoughts. And with what courage, with what self-control, and most importantly, the human dignity with which she ultimately finds a way out of very difficult situations that she encounters for the first time in her life, the reader naturally considers it as an example worthy of imitation, perceives him as an example of true nobility and even prudence. Yes, and prudence, not calculation, but justified prudence, which is so necessary in practical life, but which many, alas, have. so often lacking. Suffering and taking the suffering of her mother to heart, reflecting on the painful question - who is to blame for the family discord that resonated so painfully in her sensitive heart, Tanya, as a result of a long, very difficult search, comes to conclusions that are otherwise wise and sound, and you can’t describe it. This path ran through tossing, through doubts, through hasty accusations that were just about ready to burst from the tongue, but froze at the last moment. The girl forced herself to think more, to compare, to strive to understand, to approach the complex phenomena of life from both sides in search of justice. This is how she defines her attitude not only towards her father, who married someone else, but also towards Kolya, and towards Filka, and even towards the fat Zhenya...

Tanya Sabaneeva, outwardly an ordinary schoolgirl, turns out to be a deep, spiritually sensitive and generous person, unusually active and at the same time courageous and persistent. Most of all, Tanya's character is revealed in all her relationships with Kolya, whom she fell in love with as her first adolescent love. Not everyone can be captured with such force by a wonderful first feeling, because in general not everyone is capable of a great feeling. Tanya expresses this ability in many ways. She is by nature hot and partial, inquisitive and impetuous. How impetuous are her vague dreams of distant, unknown lands where the wild dog Dingo lives, how soulful and partial is her perception of the beauty of the surrounding world, spilled around poetry, how ardently she strives for true friendship, for pure affection, for kind and fair relations with those who she has to face in life. With each new episode, with each new chapter, the character of the main character becomes more voluminous, and new facets are revealed to our eyes.

And most importantly, this is a living character, reliable in everything, captured in all its vital spontaneity, natural inconsistency, which, however, does not violate the integrity inherent in a strong character. Let's at least briefly follow Tanya's relationship with Kolya. Even before they met, she hated him. With his appearance, she expects new troubles for herself, realizing that the appearance of her father with a new family does not bode well for her mother either.

But here comes the first meeting with Kolya. Tapya watches him with natural wariness and increased attention. Yes, she looks at him with passion, studies him, watches him in class, where Kolya is now sitting behind him at the same desk with Filka.

No, she does not immediately part with the hostile feeling living in her heart. So Kolya buys resin and treats Filka with it, and then Tanya. She offers with such “cordiality that she could not find fault with.” But she only smiles through force in response to the kind and welcoming gesture. And as soon as Kolya uttered two very ordinary phrases somewhat bookishly, Tanya exploded.

It would seem that Filka explained everything to Tanya, and she herself understood a lot, because she now constantly thinks about Kolya and determines her attitude towards him. But ardent obstinacy still does not allow itself to be overcome, to succumb to the feeling that attracts it. Immediately while fishing, on Tanya’s initiative, a new scandal breaks out, first because of kittens that fell into the river, and then this scandal will spread to something that constantly torments the heart. She will declare with all determination.” “I will never come to you again.” And he will leave. And Kolya will think: “Strange girl Tanya... Doesn’t she think I’m a coward? “Strange girl,” he decided firmly. “Can you be surprised at what she will do or say?” »

It’s not only impossible to be surprised, you can’t even imagine what Tanya will do in the next minute, how she will behave, what she will say. After all, she snapped with all decisiveness: I will never come to you again. And we believed. But in vain. Tanya did not keep her word, she came. She even slammed the door loudly, making it clear that she had the right to come whenever she wanted. She will slam the door again, “more loudly,” to assure herself of this right and make it clear to others. First of all, of course, Kolya.

But Tanya acts this way not out of calculation, not out of cruelty - all this is unknown and deeply alien to her. She is in a state where it is unimaginably difficult to figure everything out on her own. After all, “her heart did not know what it needed. And so she came here, like a blind woman, to this house, and she sees nothing, hears nothing, except the beats of her blood.”

And because her heart doesn’t know what it needs, she will contradict Kolya and deny obvious things. And in a conversation about literature, and then, when Kolya in class talks about the distant “mountainous region, where along gray roads heated by the sun, behind hedges made of stone, rough leaves of grapes darken, and in the morning donkeys scream.” Everyone listens to this story with attention, only Tanya does not listen.

And let Filka, the observant and intelligent one, think this is nonsense for now; in the next chapter, reading the traces left on the first snow (I note, by the way, that this short chapter is filled with subtle poetry and amazing accuracy, as, indeed, the entire description of the first snow), he will begin to understand something. And the teacher will soon begin to guess about the true feelings of her beloved student. It seems that Tanya herself realizes this later than everyone else. This will happen at that meeting of the school literary circle, when Kolya, who always criticized “dispassionately, cruelly” the works of all the circle members, will not say anything about the story that Tanya read.

There are works that from a young age go hand in hand with you through life, firmly entering your heart. They make you happy, sad, console and make you empathize. This is exactly the book I want to tell you about now. " Wild Dog Dingo, or the Tale of First Love“is a whole world of beautiful and noble feelings, a world of kind and brave people.

Reading this story, with some inner feeling, you understand that it was written by a very good person and a talented writer. Therefore, such works leave a bright mark on the soul; they evoke in us an explosion of feelings, thoughts, emotions, dreams and tenderness. A happy and subtle book was written by Reuben Isaevich Fraerman about the girl Tanya, a girl who dreams of distant unknown countries, the Australian dog Dingo. Strange dreams and fantasies disturb her. And this is a story about the boys Filka and Kolka, the smart and courageous Colonel Sabaneev, Tanya’s sad mother and the sensitive teacher Alexandra Ivanovna. In general, this is a poetic and kind book about good and noble people. And let them not have an easy and simple life. Sorrow and happiness, sadness and joy alternate in their lives. They are brave and responsive, both when they are sad and when they are happy. They always behave with dignity, are attentive to people and take care of their family and friends. Tanya considers Filka her best and most devoted friend. He is kind and simple-minded, but he has a brave and warm heart. And friendship with Tanya is not just friendship. This is Love. Timid, pure, naive, first...

Reuben Fraerman V " The Wild Dog Dingo, or Tales of First Love "very accurately and soulfully depicts the sensual world of a teenager, the transformation of a girl into a girl, a boy into a young man. Psychologically accurately describes the age when the soul of a teenager rushes about in search of something incomprehensible and unknown. And yesterday’s children understand that the time has come to grow up, and the most beautiful, most unique feeling has come into their world - first love. And it’s a pity that for Filka, she, the purest, most sublime, first love for Tanya, turned out to be unrequited. But the writer found the right words to evoke in his reader feelings of compassion for Filka and joy for him. Yes, Tanya sees him only as a friend, but pure and young love for this girl elevates Filka, he feels and senses the surrounding reality in a new way. And Tanya fell in love with Kolya. The popular wisdom is right: “From love to hate there is one step.” Long before Kolya’s arrival, Tanya hated her father, his wife and a boy she did not know. It was to them that Tanya believed that her father left the family, leaving his wife and very young daughter. And although Tanya didn’t remember him at all, she really missed her dad. And so, many years later, Tanya’s father, together with his new family, comes to the town where Tanya and her mother live. The girl is confused. She both wants and does not want to see her father. But Tanya’s mother really hopes that her daughter will get closer to her father and insists on their meetings. Tanya began to visit the Sabaneevs. She was very envious to look at her father’s family life, how he looks at his wife, Nadezhda Petrovna, jokes with Kolya, Nadezhda Petrovna’s nephew, the boy to whom Tanya’s dad replaced his father. Tanya thinks that her father won’t look at her like that, and he won’t joke with her like that. And her heart ached with resentment. But despite this, she was very much drawn to the cozy atmosphere of this family. And she was also very offended that Kolya did not pay attention to her. He studies in the same class with her, sits next to her at family dinners, and plays billiards. But it seems to Tanya that she does not occupy his thoughts as much as he occupies hers. Tanya does not yet understand that she has fallen in love with Kolya; she cannot recognize love in her rebellious actions. She constantly quarrels with Kolya, mocks Filka, cries and laughs out of place. It’s not easy at 15 years old to understand what is happening to you. And only teacher Anna Ivanovna guesses what happened to her student. Anna Ivanovna noticed that Tanya had become somewhat depressed. “How often lately she finds her sad and absent-minded, and yet every step of her is filled with beauty. Maybe, in fact, love slid its quiet breath across her face? " How beautifully said! Sincerely and sincerely! We hear the music of the word. And I want to take a deep breath and smile, and for some vague and captivating dreams, like Tanya Sabaneeva’s, to come to us. Even if it’s about the wild dog Dingo. Such is the power of art and the power of words.

Happy reading!

Fraerman R.I. Wild dog Dingo, or the Tale of First Love. - M.: Onyx, 2011. - 192 pp. - (Library of a Russian schoolchild). - ISBN 978-5-488-02537-0

Perhaps the most popular Soviet book about teenagers became so not immediately after its first publication in 1939, but much later - in the 1960s and 70s. This was partly due to the release of the film (starring Galina Polskikh), but much more due to the properties of the story itself. It is still regularly republished, and in 2013 it was included in the list of one hundred books recommended for schoolchildren by the Ministry of Education and Science.

Psychologism and psychoanalysis

Cover of Reuben Fraerman's story “The Wild Dog Dingo, or the Tale of First Love.” Moscow, 1940
"Children's Publishing House of the Komsomol Central Committee"; Russian State Children's Library

The action covers six months in the life of fourteen-year-old Tanya from a small Far Eastern town. Tanya grows up in a single-parent family: her parents separated when she was eight months old. Mom is a doctor constantly at work, father lives in Moscow with his new family. A school, a pioneer camp, a vegetable garden, an old nanny - this would be the limit of life if it were not for first love. The Nanai boy Filka, the son of a hunter, is in love with Tanya, but Tanya does not reciprocate his feelings. Soon Tanya’s father comes to the city with his family - his second wife and adopted son Kolya. The story describes Tanya's complex relationship with her father and stepbrother - she gradually moves from hostility to love and self-sacrifice.

For Soviet and many post-Soviet readers, “The Wild Dog Dingo” remained the standard of a complex, problematic work about the lives of teenagers and their coming of age. There were no schematic plots of socialist realist children's literature - reforming losers or incorrigible egoists, struggles with external enemies or glorification of the spirit of collectivism. The book described the emotional story of growing up, finding and realizing one's own self.


"Lenfilm"

Over the years, critics have called the main feature of the story the most detailed depiction of teenage psychology: the conflicting emotions and rash actions of the heroine, her joys, sorrows, falling in love and loneliness. Konstantin Paustovsky argued that “such a story could only have been written by a good psychologist.” But was “The Wild Dog Dingo” a book about the love of the girl Tanya for the boy Kolya? [ At first Tanya does not like Kolya, but then she gradually realizes how dear he is to her. Tanya’s relationship with Kolya is asymmetrical until the last moment: Kolya confesses his love to Tanya, and Tanya in response is ready to say only that she wants “Kolya to be happy.” The real catharsis in the scene of Tanya and Kolya’s love explanation occurs not when Kolya talks about his feelings and kisses Tanya, but after his father appears in the pre-dawn forest and it is to him, and not Kolya, that Tanya says words of love and forgiveness.] Rather, this is a story of difficult acceptance of the very fact of divorce of parents and a father figure. At the same time as her father, Tanya begins to better understand—and accept—her own mother.

The further the story goes, the more noticeable is the author's familiarity with the ideas of psychoanalysis. In fact, Tanya’s feelings for Kolya can be interpreted as transference, or transference, which is what psychoanalysts call the phenomenon in which a person unconsciously transfers his feelings and attitude towards one person to another. The initial figure with whom the transfer can be carried out is most often the closest relatives.

The climax of the story, when Tanya saves Kolya, literally pulling him out of a deadly snowstorm in her arms, immobilized by a dislocation, is marked by an even more obvious influence of psychoanalytic theory. In almost pitch darkness, Tanya pulls the sledge with Kolya - “for a long time, not knowing where the city is, where the shore is, where the sky is” - and, having almost lost hope, suddenly buries her face in the overcoat of her father, who went out with his soldiers in search of his daughter and adopted son: “... with her warm heart, which had been looking for her father in the whole world for so long, she felt his closeness, recognized him here, in the cold, death-threatening desert, in complete darkness.”

Still from the film “Wild Dog Dingo”, directed by Yuli Karasik. 1962
"Lenfilm"

The very scene of a mortal test, in which a child or teenager, overcoming his own weakness, commits a heroic act, was very characteristic of socialist realist literature and for that branch of modernist literature that was focused on the depiction of courageous and selfless heroes, alone resisting the elements [ for example, in the prose of Jack London or James Aldridge’s favorite story in the USSR, “The Last Inch,” although written much later than Fraerman’s story]. However, the outcome of this test—Tanya’s cathartic reconciliation with her father—turned going through the storm into a strange analogue of a psychoanalytic session.

In addition to the parallel “Kolya is the father,” there is another, no less important, parallel in the story: Tanya’s self-identification with her mother. Almost until the very last moment, Tanya does not know that her mother still loves her father, but she feels and unconsciously accepts her pain and tension. After the first sincere explanation, the daughter begins to realize the depth of her mother’s personal tragedy and, for the sake of her peace of mind, decides to make a sacrifice - leaving her hometown [ in the scene of Kolya and Tanya’s explanation, this identification is depicted completely openly: when going to the forest on a date, Tanya puts on her mother’s white medical coat, and her father says to her: “How much you look like your mother in this white coat!”].

Still from the film “Wild Dog Dingo”, directed by Yuli Karasik. 1962
"Lenfilm"

It is not known exactly how and where Fraerman became acquainted with the ideas of psychoanalysis: perhaps he independently read Freud’s works in the 1910s, while studying at the Kharkov Institute of Technology, or already in the 1920s, when he became a journalist and writer. It is possible that there were also indirect sources here - primarily Russian modernist prose, influenced by psychoanalysis [Fraerman was clearly inspired by Boris Pasternak's story "Childhood Eyelets"]. Judging by some features of “The Wild Dog Dingo” - for example, the leitmotif of the river and flowing water, which largely structures the action (the first and last scenes of the story take place on the river bank) - Fraerman was influenced by the prose of Andrei Bely, who was critical of Freudianism, but he himself constantly returned in his writings to “Oedipal” problems (this was noted by Vladislav Khodasevich in his memoir essay about Bely).

"Wild Dog Dingo" was an attempt to describe the inner biography of a teenage girl as a story of psychological overcoming - first of all, Tanya overcomes alienation from her father. This experiment had a distinct autobiographical component: Fraerman was having a hard time being separated from his daughter from his first marriage, Nora Kovarskaya. It turned out to be possible to defeat alienation only in extreme circumstances, on the verge of physical death. It is no coincidence that Fraerman calls the miraculous rescue from the snowstorm Tanya’s battle “for her living soul, which in the end, without any road, her father found and warmed with his own hands.” Overcoming death and the fear of death is here clearly identified with finding a father. One thing remains unclear: how the Soviet publishing and magazine system could allow a work based on the ideas of psychoanalysis, which was banned in the USSR, to be published.

Order for a school story

Still from the film “Wild Dog Dingo”, directed by Yuli Karasik. 1962
"Lenfilm"

The theme of parental divorce, loneliness, the depiction of illogical and strange teenage actions - all this was completely out of the standard of children's and teenage prose of the 1930s. The publication can be partly explained by the fact that Fraerman was fulfilling a government order: in 1938, he was assigned to write a school story. From a formal point of view, he fulfilled this order: the book contains a school, teachers, and a pioneer detachment. Fraerman also fulfilled another publishing requirement formulated at the editorial meeting of Detgiz in January 1938 - to depict children's friendship and the altruistic potential inherent in this feeling. And yet this does not explain how and why a text was published that went beyond the scope of a traditional school story to such an extent.

Scene

Still from the film “Wild Dog Dingo”, directed by Yuli Karasik. 1962
"Lenfilm"

The story takes place in the Far East, presumably in the Khabarovsk Territory, on the border with China. In 1938-1939, these territories were the focus of attention of the Soviet press: first because of the armed conflict on Lake Khasan (July - September 1938), then, after the publication of the story, because of the battles near the Khalkhin Gol River, on the border with Mongolia. In both operations, the Red Army came into military conflict with the Japanese, and human losses were high.

In the same 1939, the Far East became the theme of the famous film comedy “Girl with Character”, as well as the popular song “Brown Button” based on the poems of Evgeniy Dolmatovsky. Both works are united by the episode of searching for and exposing a Japanese spy. In one case this is done by a young girl, in another by teenagers. Fraerman did not use the same plot device: border guards are mentioned in the story; Tanya's father, a colonel, comes to the Far East from Moscow for official purposes, but the military-strategic status of the location is no longer exploited. At the same time, the story contains many descriptions of the taiga and natural landscapes: Fraerman fought in the Far East during the Civil War and knew these places well, and in 1934 he traveled to the Far East as part of a writing delegation. It is possible that for editors and censors the geographical aspect could have been a powerful argument in favor of publishing this story, which was unformatted from the point of view of socialist realist canons.

Moscow writer

Alexander Fadeev in Berlin. Photo of Roger and Renata Rössing. 1952
Deutsche Fotothek

The story was first published not as a separate publication in Detgiz, but in the venerable adult magazine Krasnaya Nov. From the beginning of the 1930s, the magazine was headed by Alexander Fadeev, with whom Fraerman was on friendly terms. Five years before the release of “The Wild Dog Dingo,” in 1934, Fadeev and Fraerman found themselves together on the same writing trip to the Khabarovsk Territory. In the episode of the Moscow writer’s arrival [ A writer from Moscow comes to the city, and his creative evening is held at the school. Tanya is tasked with presenting flowers to the writer. Wanting to check if she is really as pretty as they say at school, she goes to the locker room to look in the mirror, but, carried away by looking at her own face, she knocks over a bottle of ink and heavily stains her palm. It seems that disaster and public shame are inevitable. On the way to the hall, Tanya meets the writer and asks him not to shake hands with her, without explaining the reason. The writer plays out the scene of giving flowers in such a way that no one in the audience notices Tanya’s embarrassment and her stained palm.] it is tempting to see an autobiographical background, that is, a depiction of Fraerman himself, but this would be a mistake. As the story says, the Moscow writer “was born in this city and even studied at this very school.” Fraerman was born and raised in Mogilev. But Fadeev really grew up in the Far East and graduated from school there. In addition, the Moscow writer spoke in a “high voice” and laughed in an even thinner voice - judging by the memoirs of contemporaries, this is exactly the voice Fadeev had.

Arriving at Tanya’s school, the writer not only helps the girl in her difficulty with her hand stained with ink, but also soulfully reads a fragment of one of his works about a son’s farewell to his father, and in his high voice Tanya hears “copper, the ringing of a trumpet, to which the stones respond " Both chapters of “The Wild Dog Dingo”, dedicated to the arrival of the Moscow writer, can thus be regarded as a kind of homage to Fadeev, after which the editor-in-chief of “Krasnaya Novy” and one of the most influential officials of the Union of Soviet Writers should have reacted with particular sympathy to Fraerman’s new story .

Great Terror

Still from the film “Wild Dog Dingo”, directed by Yuli Karasik. 1962
"Lenfilm"

The theme of the Great Terror is quite distinct in the book. The boy Kolya, the nephew of Tanya’s father’s second wife, ended up in their family for unknown reasons - he is called an orphan, but never talks about the death of his parents. Kolya is excellently educated, knows foreign languages: one can assume that his parents not only took care of his education, but were also very educated people themselves.

But that's not even the main thing. Fraerman takes a much bolder step, describing the psychological mechanisms of excluding a person rejected and punished by the authorities from the team where he was previously welcomed. Based on a complaint from one of the school teachers, an article is published in the district newspaper that turns the real facts 180 degrees: Tanya is accused of taking her classmate Kolya ice skating just for fun, despite the snowstorm, after which Kolya was sick for a long time. After reading the article, all the students, except Kolya and Filka, turn away from Tanya, and it takes a lot of effort to justify the girl and change public opinion. It is difficult to imagine a work of Soviet adult literature from 1939 in which such an episode would appear:

“Tanya was used to always feeling her friends next to her, seeing their faces, and seeing their backs now, she was amazed.<…>...He didn’t see anything good in the locker room either. In the darkness, children were still crowding around the newspaper hangers. Tanya's books were thrown from the mirror cabinet onto the floor. And right there, on the floor, lay her baby [ doshka, or dokha, is a fur coat with fur in and out.], given to her recently by her father. They walked along it. And no one paid attention to the cloth and beads with which it was trimmed, to its edging of badger fur, which shone underfoot like silk.<…>...Filka knelt down in the dust among the crowd, and many stepped on his toes. But still, he collected Tanya’s books and, grabbing Tanya’s little book, tried with all his might to snatch it from under his feet.”

So Tanya begins to understand that school - and society - are not ideally structured and the only thing that can protect against herd feelings is friendship and loyalty of the closest, trusted people.

Still from the film “Wild Dog Dingo”, directed by Yuli Karasik. 1962
"Lenfilm"

This discovery was completely unexpected for children's literature in 1939. The orientation of the story to the Russian literary tradition of works about teenagers, associated with the culture of modernism and literature of the 1900s - early 1920s, was also unexpected.

Adolescent literature, as a rule, talks about initiation - the test that transitions a child into adulthood. Soviet literature of the late 1920s and 1930s typically depicted such initiation in the form of heroic deeds involving participation in the revolution, Civil War, collectivization, or dispossession. Fraerman chose a different path: his heroine, like the teenage heroes of Russian modernist literature, goes through an internal psychological revolution associated with the awareness and re-creation of her own personality, finding herself.

Composition

Filka is faithful to this friendship to the end. Moreover, he is in love with Tanya, constantly looks at her with loving eyes, perfectly understanding, sensitively guessing every desire, justifying any of her actions, even when it would seem to be, if not impossible, then, in any case, incredible. difficult. But for Filka, in everything that concerns Tanya, nothing is impossible; in his desire to serve this girl, he does not take anything into account; for him there are no difficulties or obstacles that would stop or cool his ardor.

The author began to think about Filka, as the hero of his future work, apparently earlier than other characters. It can be assumed that it was this image that was the beginning from which the whole story grew. The writer himself, as we remember, pointed out that even during a partisan campaign in the Far Eastern taiga he noticed it. In the article “...or the Tale of First Love,” Fraerman directly stated: “There I found my Filka.”

And isn’t this why Filka in the story turned out to be so bright, barely, perhaps, inferior in the strength of the impression made on the reader only to the main character. Filka is remembered for her originality, integrity of character, as if hewn from one strong piece. In spiritual generosity, purity, and loyalty, he is almost more generous than Tanya herself. Let us remember how he offers her his friendship, asking her to remember him “if you need a strong hand, or a lasso that is used to catch deer, or a stick, which I learned to use well while hunting grouse in the taiga.”

His word is strong, he will never back down from what he said, he will never break his promises. Filka wins our sympathy with his rare purity; he lives with the clear conviction that “everything good must have a good direction,” and always follows this conviction. He, without thinking, although he is capable and loves to think things over, rebels against everything bad. And this does not come from his impatient and impetuous character, on the contrary, Filka is calm by nature, likes to act leisurely, having weighed everything, namely from conviction, from early maturity, spiritual maturity, from the hardening that was obtained in the harsh taiga life. It was taiga life, full of unexpected dangers, that taught him to value friendship above all else, to be patient and fair, and to do good.

Here is his belief: “Having acquired a strange habit of thinking from time to time, Filka thought that if the ancient warriors - and not the ancient ones, but others whom he sees today under cloth helmets with a red star - had not helped each other in the campaign, then how could they win? What if a friend remembered his friend only when he saw him, and forgot about him as soon as the friend went on the road, how could he ever come back? What if a hunter who dropped his knife on the path could not ask the person he met about it, then how could he always sleep peacefully alone, in the forest, by the fire.”

That is why for him there is nothing sacred than friendship, kindness and justice. All this was manifested with particular completeness and, I would say, beauty in his truly chivalrous, selfless devotion to Tanya.

Tanya is able to think through even very complex phenomena, Kolya is serious and thoughtful, but the most mature, the most mature, despite his somewhat naive spontaneity of character, in the story is Filka. Even now about him, still a schoolboy, one can say: he has a wise head. He loves to think, and most importantly, he is able to think, compare, and analyze.

“If a person is left alone, he risks getting on a bad road,” thought Filka, left completely alone on the deserted street along which he usually returned with Tanya from school. He waited for her for a whole hour, standing on the corner near the Chinese stall. Whether it was sticky sticks made of sweet dough lying in a heap on the tray, or the Chinese man himself in wooden shoes distracted Filka’s attention, but now he was alone, and Tanya left alone, and it was equally bad for both. In the taiga, Filka would have known what to do. He would follow in her footsteps. But here in the city they would probably take him for a hunting dog or laugh at him.

And, thinking about it, Filka came to the bitter conclusion that he knew a lot of things that were of no use to him in the city.

He knew, for example, how to track a sable by the powder near a stream in the forest, he knew that if by morning the bread froze in the cage, then he could go on a visit with dogs - the ice would withstand the sled, and that if the wind blew from the Black Spit, and the moon If it’s round, then we should wait for a snowstorm.”

Yes, Filka has richer life experience than any of his classmates. But this cannot be explained only by the fact that Filka is a child of nature, that he is a taiga resident. Among other things, Filka is characterized by such qualities as endurance, self-control, and good manners. Devoted to selflessness to Tanya, ready to rush to serve her at any moment, he nevertheless never loses his dignity, behaves naturally, simply, sincerely and nobly.

Could Tanya not appreciate such a friend? She sometimes, by her own admission, forgot about him, which she sincerely regrets when parting, since leaving Filka is hardly harder for her than parting with Kolya and her father. Knocked off her feet, just before leaving, Tanya finds her faithful Sancho Panza on the bank of the river, where they loved to swim together.

“He was without a shirt. And his shoulders, bathed in the sun, sparkled like stones, and on his chest, dark from tanning, stood out light letters, written very skillfully. She read: “TANYA.”

Filka covered this name with his hand in embarrassment and retreated a few steps. He would have retreated very far, would have gone completely into the mountains, but the river guarded him behind him. And Tanya kept following him, step by step.

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