Comparative analysis of the stories of A.P. Chekhov "I want to sleep" and D. Grigorovich "Gutta-percha boy"

In 1889, a collection of stories about children was published, which included the works "Children", "Event", "Roly", "Runaway", "I want to sleep", "Father of the Family", "Steppe".

The most piercing story, the most hopeless image of a child - “I want to sleep” - undoubtedly goes back to the tradition of social literature about children, begun by D.V. Grigorovich in the story “The Gutta-Percha Boy”.

The story “I want to sleep” was written by A.P. Chekhov in 1888. The plot is uncomplicated. The author tells how Varka, a girl of about thirteen, was given to the servants. Rocks the cradle with the child and sings almost audibly. The baby does not fall asleep, cries. Varka wants to sleep, but knows that if she falls asleep, the hostess will kill her. The girl is dozing and sees people walking along the road, falling and falling asleep. The late father dreamed. He is tormented by the fact that a hernia has broken out, writhing on the floor in pain. By morning, my father was dead. Varka cries, goes into the forest. But a blow to the head wakes him up. It was the owner who struck: the child is crying, and Varka is sleeping. She rocks the cradle, falls asleep again, and now she already sees how her mother and she go to the city to hire and beg. The hostess demands the child, feeds it, and again gives it to Varka, who, continuing to rock the cradle, falls asleep again, but she is ordered to light the stove. At work, sleep passes. It is necessary to put the samovar, clean the owner's galoshes, over which she again falls asleep. Go to the store, peel potatoes, wait on dinner, wash, sew. I want to sleep. Run to the store for beer, vodka, peel the herring, swing the child. I want to sleep. Something binds on the hands

and legs - a child. Smiling, he approaches the cradle, strangles the child, lies down on the floor, laughs, and in a minute he sleeps like the dead.

That's all the action. Chekhov convinces the reader that a child, not protected from the arbitrariness of adults, can commit a monstrous act, but he needs to be understood, to present the torture of sleep deprivation, to which the little nanny is doomed. "The baby is crying. He has long been hoarse and exhausted from crying, but he is still screaming, and it is not known when he will calm down. And Varka wants to sleep. Her eyes are closed, her head is pulled down, her neck hurts. She cannot move her eyelids or her lips, and it seems to her that her face has dried up and stiffened, that her head has become small, like a pinhead. A child deprived of childhood - what could be more tragic! This topic was close to Chekhov. “As a child, I didn’t have a childhood,” he said, referring to both the burden of overwhelming duties that lay on the children and the lack of closeness with a father who only knew how to drill his sons.

Varka does not even have bright memories of village life. In a dream, only a father dying in terrible agony. Varka's protest took a terrifying form already in childhood, her physical torment is so strong in the complete absence of sympathy from anyone. Chekhov also called for sympathy, acting as a lawyer for the child killer. To some writers of that time, the story seemed implausible, and its plot - "artificial". Others objected that such stories occur in life. Chekhov himself, being a doctor by profession, showed in the story “I want to sleep” how dangerous it is to burden a child with overwork. The child's psyche is a subtle and complex phenomenon that requires the most careful attitude.

L.N. Tolstoy, highly appreciating the story, referred it to the works of the “first grade”, called it “a true pearl”. Tolstoy himself thought a lot about the despotism and indifference of adults who cripple the psyche of children. L.N. Tolstoy, calling Chekhov "Pushkin in prose", "an incomparable artist", "artist of life". The writer managed to reveal in such a concise artistic form the psychological drama of a young maid, brought to exhaustion and despair by forced insomnia.

The work "Gutta-percha boy" was written by the famous Russian writer Dmitry Grigorovich in 1883.

The Gutta-Percha Boy tells the story of a little orphan, Petya, who was taken to study with a circus performer. Acrobat Becker does not speak Russian well and knows no other incentive in training, except for corporal punishment. But the fear of the teacher is a bad helper, "he inspires timidity, and timidity is the gymnast's first enemy." Peter is simply doomed to death. But the meaning of the story does not end there. Empathy, the ability to understand the need and grief of another person - this is what the story "The Gutta-percha Boy" teaches the reader. The summary of the work gives a completely sufficient idea of ​​​​the difficult life of a poor eight-year-old child who was left without a father and mother in early childhood. In contrast to Petya Grigorovich displays images of children from rich family(Vera, Zina and Pavel). Against the backdrop of their luxurious life, Petya's miserable existence looks even more miserable. Grigorovich paid special attention to the first years of Petya's life in his story. The gutta-percha boy was the son of Anna the cook and a certain soldier. During the life of his mother, he had to starve more than once and endure beatings from her. Petya was left an orphan when he was in his fifth year. In order for the boy not to die of starvation, the washerwoman Varvara (Anna's compatriot) gave him to be raised by the acrobat Becker. The circus treated the child very cruelly. He forced him to perform the most difficult acrobatic stunts, which were not always within his power. Even if the boy fell from a pole during training and hit hard, the mentor did not spare him, and at times even beat him. The only one who treated Petya well was Edwards. However, he could not protect the child from the arbitrariness of Becker.

It awakens in the reader a lot of experiences and thoughts. Here are reflections about the incomprehensible Providence of God, which arranges human destinies in such a different way, and reflections about parental sin, which entails immeasurable suffering for children, and disturbing thoughts about narcissistic pride that mortifies the soul. Reading her evokes compassion and pity for the unfortunate child who, in her tiny life, had to see only deprivation and cruelty.

Reading the story, we are surprised at how thoughtlessly and irresponsibly a person disposes of the priceless gift of life, or we lament how strong passions are in a person and how little he knows about the True Helper in overcoming them. But at the same time, we cannot but rejoice at the mercy that is still close to the hearts of many people. Of course, the story "The Gutta-Percha Boy" is painful reading even for an adult. From some scenes that invade our consciousness and feelings, we want to quickly run to the usual spiritual comfort.

The story of the little acrobat Petya is familiar to many middle-aged children. school age. It is very interesting to know what readers think about the work "Gutta Percha Boy". Reviews of the story among children and adults are very sad: everyone sincerely feels sorry for Petya, they are worried that fate turned out to be so unfavorable to him. Occasionally, one can hear thoughts that this book should not be read in childhood, as it makes the child feel sad and depressed. Each reader has his own opinion about the work, but one cannot but agree that acquaintance with such books allows one to educate such a person in a person. important quality as compassion for one's neighbor.

Among the variety of children's books, there is one of the most tragic works - "The Gutta-Percha Boy", which should be read by both children and their parents. The sad story of a little orphan will not leave anyone indifferent and will unpleasantly surprise the attitude of adults towards a small child who, at the age of eight, is forced to participate in a dangerous circus act.

The structure of the work

The story of Dmitry Grigorovich "The Gutta-Percha Boy" can be conditionally divided into three parts:

1. The present day on which the story takes place. The book begins and ends with him.
2. Life story of a gutta-percha boy.
3. A story about the family of Count Listomirov.

The work consists of seven chapters. The first and sixth chapters tell about what happens in the circus backstage and in the arena during the performance. From the second and third chapters you can learn the story of the gutta-percha boy. The fourth and fifth chapters are devoted to the life of the children of Count Listomirov. The seventh chapter can be compared to an epilogue.

Characters in the story

For better understanding summary"Gutta-percha boy" D. Grigorovich, you need to get acquainted with the main actors narratives:

• Petya is a gutta-percha (with a very flexible body) boy.
• Becker Karl Bogdanovich, German - circus performer (athlete, acrobat), teacher and owner of Petya.
• Edwards is a circus clown.
• Anna is Petya's mother.
• Barbara is Anna's friend.
• Grandmother is a neighbor with whom Petya lived after the death of his mother.
• The Listomirov family: Vera, Zina (Zizi), Pavel (Paf) - children. Count and Countess Listomirov - parents. Aunt Sonya is the Countess's sister. Miss Blix (English) is the nanny. A young Swiss woman is a music teacher. Nurse of a newborn baby.
• Circus director.
• Frau Braun and her daughter Amalia (a fifteen-year-old girl is a gymnast in a room with horses).

The plot of the work

When I was born, I cried; afterwards, every day I lived explained to me why I cried when I was born ...

From this epigraph begins the sad, tragic story of D. Grigorovich "The Gutta-Percha Boy".

It was written in 1883. In the story of the gutta-percha boy, the writer perfectly describes the life of the poor and rich sections of the population. The events of the story take place in the circus of St. Petersburg.

The action of the story begins with a description of the bad weather and the director's feelings about the evening performance of circus artists. He fears that the blizzard will scare away the audience and the program will be small. His worries are quite justified, because the action takes place on Maslenitsa Friday, last week before fasting, and there will be no circus performances during fasting. People leaving the circus after the morning program are also not happy with the bad weather, which was wonderful and sunny in the morning.

After all the spectators of the morning performance have gone home, the director goes through the gloomy premises of the circus to discuss his opinion about the performance with the artists. Grigorovich describes in great detail the dark premises of the circus, which later contrast with the description of the house of Count Listopadov. Having expressed his dissatisfaction with Frau Braun over the unsuccessful performance of her daughter Amalia, who fell off her horse several times during her number, and after listening, but not accepting her excuses, he goes to the clown Edwards.

circus clown

Edwards is a crowd favorite. His performance decorates any program and delights the audience. But the clown has one unpleasant flaw, which is presented in the story as a disease. First, he falls into depression for several days, which ends for the clown with a long drinking bout, during which he is unable to perform in the circus arena.

Good and kind person, who is trying to protect Petya from Becker and distract the boy from sad thoughts. But all his efforts are of little help. Even his gift turns into a tragedy for the unfortunate child. The clown gives the boy a small dog, but Becker kills the puppy in a fit of rage.

Just during these final performances at the circus before the fast, Edwards begins to fall ill, and the director implores him to try to get over himself at least before the fast begins.

Acrobat Becker

An unpleasant and cruel man in his forties. He considers himself handsome, crushing women's hearts, although in reality he looks heavy and clumsy. Grigorovich compares the athlete with Goliath. Becker is considered Petya's tutor and teacher, but he does not like the boy and does not even notice that the child needs new clothes. All his concern for the orphan lies in exhausting exercises and endless beatings for any oversight of the boy. For him, Petya is more of a tool for performing a spectacular number than a living person. However, this can be said about almost all the heroes of The Gutta-Percha Boy, who do not even understand what danger the child is exposed to during performances.

History of Petya

The boy was orphaned at the age of five. Anna, Petya's mother, was a poor woman and served different people cook. Because of her bad temper, when a good mood is quickly replaced by irritation, she was constantly fired from work. Over time, she marries a soldier who temporarily served as a porter and gives birth to a weak boy. After the birth of a son, relations between the spouses deteriorate, and Petya's father returns to the barracks. After some time, Anna is informed that her husband has died. Varvara, Anna's friend, arranges for her to a good place, to the laundry. For Petya, this was the happiest time of his life. He could walk in nature and relax on a raft by the river.

But after a couple of years, Anna marries an ugly and quarrelsome tailor again. The stepfather did not like Petya and threatened to drown the boy in the hole. The tailor drank the money he earned and eventually disappeared somewhere in Shlisselburg. Anna didn't feel better about it. Leaving her beloved son to her neighbor, whom Petya called grandmother, she sets off to look for daily work. Anna dies from an unbearable life. Not knowing what to do with the boy, Varvara arranges him for Becker, who lived next door to her.

The scene where the writer describes how Becker examines the child can be compared with the choice not of a person, but of a beast. The athlete does not care about the feelings of the boy, he does not care that the child is scared and crying. For Becker, the main thing is not to make a mistake in the gutta-percha abilities of the boy's body. Roughly feeling the child's thin body and arching it so that his chest bulged forward and his head threw back, and Petya froze in horror and pain, the acrobat decides to take the orphan to his circus number.

Listomirov family

The story about the life of Count Listomirov's family begins with a description of the rooms in which the children live. These bright, sun-filled cozy rooms, decorated with beautiful furniture, curtains and carpets, involuntarily make the reader recall the gloomy premises of the circus at the beginning of the story. Children, owners of these wonderful rooms, try to behave as best they can throughout the Shrovetide week. Per good behavior they are promised a trip to the circus. Verochka, the eldest daughter of eight years old, is a sweet and kind girl with big eyes and thick ashy hair. She closely monitors the behavior of her younger sister Zina and brother Paf, fearing that they might disrupt the promised entertainment with their games.

Paf, although his real name is Pavel, is the only son and successor of the surname of Count Listomirov. The description of the appearance and character of the five-year-old Paf creates a contrast with the gutta-percha boy. He has a loose, heavy body and an apathetic personality. Although, when offered to go to the circus, he perks up and tries to portray a clown.

In addition to the story about the children, Grigorovich gives a description to other family members.

• The aunt, a lonely thirty-five-year-old Sonya, has dedicated her life to raising the children of her sister, who is completely exhausted from frequent childbirth.
• The father of the family is a thoughtful and rather boring person. He communicates little with his wife, he prefers to keep his opinion to himself. An overly tidy person and demands that all things be in their places.
• The mother of the children is a woman who is exhausted by childbirth and is afraid of upsetting her husband, so she is always in a state of nervous tension.

Tragic performance in the circus

In the last chapters of the story, the writer returns the reader to the circus. The artists are preparing for the performance, the audience fills the auditorium with a multi-colored crowd. There is a festive mood in the arena, one number replaces another, but everyone is waiting for the performance of the gutta-percha boy. A merry waltz sounds in the circus, and an acrobat enters the arena with a thin boy. The attendants carry out a long pole with a crossbar at the end, which goes up to the very ceiling. Becker fastens the pole to his belt, and Petya climbs it to perform a dangerous act under the circus dome. Performing exercises, the boy suddenly breaks off the crossbar and falls into the arena.

The circus attendants try to quickly and discreetly take Petya out of the curtain, but the spectators leave the circus anyway. Verochka is the most upset, she cries and repeats all the time: “Ay, boy, boy!” Even at home, she remains upset, which infuriates her father, who believes that some "scoundrel" broke and fell, thereby ruining the mood of his children. He has no compassion for the poor, alien child.

The end of the story is sad and gloomy. Petya dies on a mattress for acrobats, which lies on the floor near the stable, all alone. Even a kind clown leaves him, having gone into a state of binge. And the next day, the number with the dead boy was simply removed from the poster.

The story "The Gutta-Percha Boy", the content of which leaves a mark on the soul of a person, needs to be known to everyone. There were many such poor children at that time. And often their end was just as tragic.

Introduction.

“To become ... a writer seemed to be something poetic, sublime, a goal that was only worth dreaming about,” wrote Dmitry Vasilyevich Grigorovich (1822-1899). His dreams came true, and he rightfully occupies one of the leading places in the literature of the 40-50s of the 19th century. A number of works created by him entered the golden fund of the classics. His work was highly valued by V. G. Belinsky and L. N. Tolstoy.

One of these works is the story "The Gutta-Percha Boy", written in 1883. This story by D.V. Grigorovich was called a “little masterpiece”, because

was able to paint a true picture of the difficult life and death of the little acrobat. D.V. Grigorovich studied the “nature” about which he would write for a long time and carefully;

The scene is a circus. This concept is associated with the idea of ​​\u200b\u200ba holiday, fun, but the author introduces the reader to the circus through the wings and shows reverse side circus life;

in the center of the work is a fragile "unfortunate boy" - a typical image of those children who were left homeless due to the death of their parents;

the emotional structure of the story makes the hearts of the readers tremble, and the ending is so tragic that the feeling of sadness and sadness remains with the reader for a long time;

D.V. Grigorovich with extraordinary accuracy managed to show the life of a child who “had no childhood in childhood.”

I.S. Turgenev, giving an assessment to this work, said: “I will tell you briefly that this thing is very characteristic: all the characters are set correctly.”

An object research - the story of D.V. Grigorovich "Gutta-percha boy", written in 1883.

Subject research - reception of antithesis.

Target research - to determine what role the reception of antithesis plays in the story.

Hypothesis- the use of contrast technique helps to reveal the ideological concept of the work.

Tasks:

Define antithesis.

Highlight the cases of using the antithesis technique.

Make a classification of the use of antithesis reception.

Determine the role of contrast in the story "Gutta-percha Boy".

methods, used in the creation of research work:

Reading the story "Gutta-percha boy";

analysis of means of artistic expression;

comparison of antithesis reception at different levels;

making a classification.

Main part.

1. Antithesis.

Antithesis is a stylistic figure of contrast in work of art, which consists in a sharp opposition of concepts, positions, images, states, interconnected by a common structure or internal meaning.

D.V. Grigorovich uses the antithesis method at the following levels:

composition of the story;

scene;

time of action;

landscape sketches;

images;

2. Contrasting the title of the story with the statements in the very content of the story.

The title of the story "The Gutta-Percha Boy" contradicts the author's statements about the boy's abilities.

gutta-percha – 1. related to gutta-percha, made from gutta-percha, rubber; 2.trans. flexible, elastic, stretchable.

Giving such a name to the work, D.V. Grigorovich points to Petya's extraordinary flexibility, his ability to easily do extraordinary exercises and tricks. But behind these exercises lay a huge amount of work, associated with bruises and falls, with Becker's beatings, with pain in the joints of the shoulders and constrictions in the chest.

And in chapters 2 and 3, the author utters phrases that are completely opposite to the title of the work. “The pupil of the acrobat Becker was called the “gutta-percha boy” only in posters; his real name was Petya; rather, however. It would be to call him an unfortunate boy." “Despite his lightness and flexibility, Petya was not so much a gutta-percha as an unhappy boy.”

3. The use of antithesis in the composition of the story.

Firstly, in the composition of the story, D.V. Grigorovich distinguishes 7 parts. The last chapter is opposed to the first six chapters both in terms of volume and content. The first six parts are about life, the last part, which is so small in volume, is about death.

Secondly, in the composition of the story, it is conditionally possible to distinguish two parts that are opposed to each other:

The life and death of a boy.

The life of the family of Count Listomirov.

Petya's life in the circus, where rudeness, cruelty, heartlessness reigns, is opposed to the life of children in the Listomirovs' house. Nothing overshadows the happy life of children in the count's house, they are surrounded by care and love.

Petya's life is also shown in a contrasting form: the hard, unbearable life in the circus is contrasted with his life on the Black River West with his mother (“it was undoubtedly the best time in the boy’s life”).

4. Acceptance of antithesis when describing the scene.

D.V. Grigorovich uses the antithesis technique when describing the scene, opposing the circus premises to the house of Count Listomirov.

BUT . The circus.

The main setting is the circus. The image of the circus contains a contrast. Firstly, the empty circus and the circus during the performance. The empty circus plunges into darkness, gloom, “foggy darkness”, “dusk”, silence reigns here. When the audience “in bright clothes” begins to pass into the brightly lit hall, the thunder of the orchestra, “squeak and laughter” is heard. Secondly, the arena under a high dome, flooded with light, is contrasted with Becker's dressing room ("tiny low room"). From there, a "tearing children's squeal and screams" are heard, accompanying the training of the boy Petya.

AT . House of Count Listomirov.

The children's rooms in the count's house are also beautifully lit ("the rays of the sun from morning to sunset passed through the windows"), but this light is natural, soft, warming. Shouts and cries are heard in the house, but these are cries of joy of fun. The decoration of children's rooms differs sharply from the dressing room of a gutta-percha boy, where there are "neither toys, nor books, nor pictures, nor a cardboard troika of horses" - the attributes of any children's room.

5. Acceptance of antithesis when describing the time of action.

DV Grigorovich divided Petya's life into two time periods, life before meeting Becker and life with Becker, and contrasted them with each other. In the past, Petya also lacked bright colors, but his mother, an old woman, and the washerwoman Varvara took care of him. He felt their care and love. The very first meeting with Becker gives rise to horror in the boy's heart, which takes root in his soul for the rest of the time.

6. Acceptance of antithesis in landscape sketches.

In landscape sketches, the author uses the technique of antithesis. The story opens with exclamations: “A blizzard! Blizzard! How unexpected!!! A cloud swooped in, the wind rose, and the snow fell with such density that ... it was impossible to make out anything on the street. And before that, the weather was great: “it was a little cold”, “the sun was dazzlingly sparkling”. This landscape sketch is emotional: it expresses surprise, bewilderment, irritation.

The same change in the weather is given through the eyes of Aunt Sonya: “the sun was leaning towards the roofs”, and then “the sky was covered with a large gray cloud”, “fluffy snow flakes flew”, a snowstorm went around the whole garden. There is already a completely different emotional background: joy, jubilation, admiration and, at the same time, fear.

Such a change in the weather is a kind of prediction about the tragic changes in the fate of the protagonist.

7. Reception of antithesis when creating images.

A. Social position.

The images are contrasting in their social status, which is emphasized by the clothes of the heroes. During the funeral of his mother, a gutta-percha boy is dressed in randomly selected clothes (“the boots in which his legs dangled were accidental”, “the caftanishko was accidental”, “the hat begged from the janitor was accidental”). In Becker's dressing room we find him without any clothes at all ("naked, blond boy", "leotards on his knees"). In addition to the concert costume, Petya had two shirts, from which "only rags remained", there were also boots, "which asked for porridge."

In contrast, the children of the count are dressed. Vera is dressed in a “blue quilted hat”, “blue mantilla”. Zizi was dressed just like her sister.

C. Portrait characteristic.

Becker is characterized by physical strength, "thick bandaging of bones", "short neck", "small round head". The author depicts the acrobat as heavy, as if "cut out of rough material."

In contrast to him, Petya is depicted, "a thin boy of about eight", "thin limbs", "a hollow in the middle of the chest."

To strengthen the antithesis of these images, the author uses a metaphor: "a frail fledgling chicken" and "a huge fat boar."

C. Inner world.

The image of the clown Edwards is opposed to such circus workers as the director and acrobat Becker on the principles of life, emotional state, internal content. Edwards differs from them in that

does not boast of his fame (“there was no circus from Paris to Constantinople, from Copenhagen to Palermo, wherever he was not clapped”);

does not observe degrees and differences, behaves with everyone on an equal footing;

friendly attitude towards everyone;

attached to animals, children;

he is torn apart by internal contradictions (“longing was born in him, because he understood the futility of the struggle”).

Edwards has the opposite position to Becker on the education of Petya's pupil. The clown believes that the result will be much better if Petya is cheerful and cheerful (“gaiety gives strength and vigor”, “you can’t take anything with fear and beatings”). And Becker achieved results from his pupil with a scream and fists, from which the boy squealed and screamed heart-rendingly, and an overwhelming fear was born in his soul.

The images are also contrasting in relation to the death of Petya. Next to his pupil there is no teacher Becker, to whom he brought income and fame. But there is a good-natured clown Edwards. Only his steps break the dead silence of the circus.

8. The death of the boy Petya is depicted using contrast.

D.V. Grigorovich depicted the last minutes of the boy’s life using the antithesis technique. The performance of the gutta-percha boy is accompanied by shouts and applause. The fall itself (“the dull sound of something falling into the arena”) causes a noise in the hall, screams and a female squeal. And the boy's body lies in complete silence (the author uses this word 3 times).

A boy lies with "broken ribs and a broken chest in the dark, and only a nightlight illuminates his body from head to toe."

Contrasting images "sounds - silence", "darkness - light" emphasize the main opposition of life and death.

9. The role of antithesis in D.V. Grigorovich's story "The Gutta-Percha Boy".

Contrasting the title of the story with the statements in the content itself, the author emphasizes that the pupil of the acrobat Becker is called a gutta-percha boy only on the poster, in fact he is an “unfortunate boy”, whose life was tragic;

The use of antithesis in compositional terms allows the reader to experience different feelings. Pity and compassion for Petya, a boy who had no childhood in his childhood. Joy for the children of Count Listomirov, who have a real childhood;

The antithesis helps to reveal the contradictory attitude towards the circus: on the one hand, it gives joy and fun, and on the other hand, bruises, fractures and death (“human life was constantly hanging by a thread here, and they played with it like a ball”).

Using the technique of antithesis, the writer emphasizes the belonging of the characters to a certain social class. But belonging to the rich class does not determine the characters of people. The family of Count Listomirov is capable of experiencing, sympathizing; and Becker does not stay with his pupil after his fall;

The reception of contrast helps to emphasize the feeling of hopelessness that is born in the soul of Petya and the clown Edwards and the inner emptiness, rudeness, heartlessness, love of money of the director, Becker;

The contrast in landscape sketches enhances the sense of impending tragedy;

The use of antithesis at different levels helps to reveal the main idea of ​​the work. L.N. Tolstoy said: “Happy, happy, irretrievable time of childhood!” But such a happy time, unfortunately, is not prepared for all children. D.V. Grigorovich wanted to show the destitute childhood of the boy Petya, who was left an orphan, and the unmerciful attitude towards him on the part of adults. The author proclaims that childhood must be happy.

Conclusion

After analyzing the use of antithesis in D.V. Grigorovich’s story “The Gutta-Percha Boy”, we came to the following conclusions:

The story "The Gutta-Percha Boy" is built on the reception of contrast.

D.V. Grigorovich uses the antithesis technique at different levels:

the title of the story is opposed to the statements in the very content of the story;

composition of the story;

scene;

time of action;

landscape sketches;

images;

the death of the boy (climax).

3. Purpose of using antithesis in a story:

the reception of the antithesis helps to imbue with sympathy for Petya, for Edwards, to empathize with them;

using the technique of antithesis, the writer emphasizes the characters' belonging to a certain social class;

antithesis helps to reveal the inner experiences of the characters;

antithesis helps to reveal the true qualities of people;

antithesis works to reveal the main idea of ​​the work.

Thus, the use of antithesis in D.V. Grigorovich’s story “The Gutta-Percha Boy” is aimed at creating human characters, at revealing the main idea of ​​the work.

Dictionary Ozhegov S.I. Dictionary of the Russian language Ok.57000 words / Ed. corresponding member USSR Academy of Sciences N.Yu. Shvedova. - 18th ed., Sr. - M.: Rus.yaz., 1986.- p.797

Title of the work: Gutta-percha boy

Year of writing: 1883

Genre: story

Main characters: Petya- a seven-year-old circus performer, Karl Bogdanovich- an old acrobat, the boy's tutor.

Plot

Left an orphan, Petya is apprenticed to a former acrobat, rude and cruel man. He ruthlessly forced the kid again and again to perform difficult and dangerous tricks high on a pole. The boy often fell and hurt himself, but no one felt sorry for him, except for the old drunkard clown, who furtively felt sorry for and caressed the boy. Soon the posters of the circus appeared in the inscription about the "gutta-percha boy", who performs his numbers high on a pole without any insurance.

And then one day a tragedy happened: the poor kid fell off the pole and crashed, he was quickly taken out of the arena so as not to frighten the respectable audience with the sight of blood and laid on a dirty mattress backstage. By morning, the boy died without any help, and only the poor clown remembered him, but he was also fired from the circus for unrestrained drunkenness.

Conclusion (my opinion)

The situation of children, and not only orphans, was difficult at the end of the 19th century. They were given as apprentices and apprentices, they were powerless, could not get an education and break out into the people. The story also talks about children who came to watch a fun performance, but accidentally witnessed the tragedy. Only they took pity on the little acrobat, and no one else was interested in his fate.

1) Dmitry Vasilyevich Grigorovich

2) "Gutta-percha boy"

4) Genre: story

5) The work was created in 1883. The writers Franz Kafka and Yaroslav Hasek were born this year; the Indonesian volcano Krakatoa erupted; solemn consecration of the Cathedral of Christ the Savior took place in Moscow.

6) The duration of the story - late XIX century.

7) Main characters:

the eight-year-old boy Petya (nicknamed “gutta-percha” for his flexibility), after the death of his mother, he was sent to study with the acrobat Becker; acrobat Karl Becker - narcissistic and cruel, he treated Petya like a personal thing, he did not care about either the feelings of the child or his fate; the clown Edwards - he is a talented man, but a drunkard from doom, tries to take care of Petya, but, faced with Becker's resistance, retreats; the girl Vera, the eldest daughter of Count Listomirov, was sincerely worried about Petya when he fell down after performing a trick.

8) The plot of the work:

the boy Petya was left an orphan early, lost his mother when he was five years old.

After the death of his mother, her compatriot, the washerwoman Varvara, gave Petya for “training” in the circus to the acrobat Karl Becker, who, while teaching the boy acrobatic tricks, mercilessly beat and scolded him, he never said a kind word to him, nor caressed him. The only person who felt sorry for Petya was the clown Edwards, who secretly showed him how to do this or that exercise.

The end of the story is sad - during one of the performances, Petya, performing a difficult trick at a height, fell off and fell down ... “The next morning, the circus poster did not announce the exercises of the “gutta-percha boy” ... he was no longer in the world.

the author encourages us to think about how vulnerable and defenseless children can be. It is difficult for them to live in the adult world, so you should try to help them. The story teaches us to show feelings of love and compassion for children.

Updated: 2018-08-07

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