“Characteristics of Filka’s image in the work “The Tale of First Love. “The image of the main character in the work “The Tale of First Love” The main idea of ​​the story is the wild dog dingo

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 and his new family come to the town where Tanya and her mother live. The girl is confused. She both wants and doesn't 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

And there were, perhaps, only debts with a very vague future. Watching the video “Bulgakov in Kyiv.” Creative takeoff again. The purpose of the lesson. It would seem that sailing has become more spacious, but no, it’s not easier. Love for someone else's wife. I walk the steep road of chivalry and despise earthly goods, but not honor! The hostess was energetic and frivolous.

“The Life and Work of Bulgakov” - North Caucasus. True. Themes of the novel. Mother. The image of Satan. Composition "The Master and Margarita". Real drama. Life and art. The most difficult period. Novel "The Master and Margarita". Bulgakov worked a lot and fruitfully. Financial situation. Circle of Moscow Writers. The key idea of ​​the novel. Afanasy Ivanovich died.

“Bulgakov’s Heart of a Dog” - Professor Preobrazhensky - Evgeny Evstigneev. Composition of the story. Subtle, hidden mockery; discrepancy between positive meaning and negative connotation. “Heart of a Dog” is a masterpiece of Bulgakov’s satire. “Heart of a Dog” (“A Monstrous Story”). M. A. Bulgakov (1891-1940). 1921 - Bulgakov came to Moscow for permanent residence.

“Brief biography of Bulgakov” - Friends and family. Mikhail Afanasyevich Bulgakov. Works of Bulgakov. Tatyana Nikolaevna Lappa. Postage Stamp. Dead Souls. Bulgakov works as a doctor. Michael Bulgakov. Afanasy Ivanovich Bulgakov. Varvara Mikhailovna Bulgakova. House on Vozdvizhenskaya. Elena Sergeevna Bulgakova. Caucasus. Lyubov Evgenievna Belozerskaya.

“Biography of Bulgakov” - In 1936, the premiere of Bulgakov’s “Molière” took place at the Moscow Art Theater. In 1930, Bulgakov's works ceased to be published, and plays were removed from the theater repertoire. In 1929, Bulgakov met Elena Sergeevna Shilovskaya, his future third wife. Bulgakov's health condition is deteriorating sharply. The writer also begins work on a play about Moliere (“The Cabal of the Saint”).

“The Master and Margarita Bulgakova” - based on the novel “The Master and Margarita” by M. Bulgakov. “Do good” - so says the ancient wisdom. But I feel sorry for you, why would you ruin your life with a sick and poor person? Project 2. Project 1. Poet Ivan Nikolaevich Ponyrev, writing under the pseudonym Bezdomny. The fundamental question is: “How to maintain a balance between mercy and justice.”

There are a total of 24 presentations in the topic

“There are books,” wrote M. Prilezhaeva, “that, having entered a person’s heart from childhood and adolescence, accompany him throughout his life. They console him in grief, provoke thought, and delight him.” This is exactly what Reuben Isaevich Fraerman’s book “The Wild Dog Dingo, or the Tale of First Love” became for many generations of readers. Published in 1939, it caused heated discussion in the press; filmed in 1962 by director Yu. Karasik - attracted even more attention: the film was awarded awards at two international film festivals; played in a radio show by famous actors, glorified by the famous song of Alexandra Pakhmutova - it soon became firmly established in the school curriculum for Far Eastern literature.

R.I. Fraerman created the story in the village of Solotcha, Ryazan region, but made the Far East the setting for his work, which captivated him from a young age. He admitted: “I came to know and love with all my heart both the majestic beauty of this region and its poor<…>peoples. I especially fell in love with the Tungus, these cheerful, tireless hunters who, in need and adversity, managed to keep their souls pure, loved the taiga, knew its laws and the eternal laws of friendship between man and man.

It was there that I observed many examples of friendship between Tungus teenage boys and Russian girls, examples of true chivalry and devotion in friendship and love. There I found my Filka."

Filka, Tanya Sabaneeva, Kolya, their classmates and parents living in a small Far Eastern town are the heroes of Fraerman’s work. Ordinary people. And the plot of the story is simple: the girl will have to meet her father, who once left his family, she will have a difficult relationship with the new family of her father, whom she loves and hates at the same time...

But why is this story about first love so attractive? “Harmonious, created as if in one breath,” notes E. Putilova, “like a poem in prose, the story is small in volume. But how many events, destinies it contains, how many changes happen to the characters on its pages, how many important discoveries! this one is far from serene, and the strength of Fraerman’s book, its enduring charm, perhaps lies in the fact that the author, believing in his reader, boldly and openly showed how dearly love is given to a person, how it sometimes turns into torment, doubts, sorrows, suffering. And at the same time, how the human soul grows in this love." And according to Konstantin Paustovsky, Ruvim Isaevich Fraerman “is not so much a prose writer as a poet. This determines much both in his life and in his work. The power of Fraerman’s influence lies mainly in this poetic vision of the world, in the fact that life appears before us on the pages of his books in its beautiful essence.Fraerman<…>prefers to write for youth rather than for adults. The spontaneous youthful heart is closer to him than the experienced heart of an adult.”

The world of a child's soul with its inexplicable impulses, dreams, admiration for life, hatred, joys and sorrows is revealed to us by the writer. And first of all, this applies to Tanya Sabaneeva, the main character of the story by R.I. Fraerman, whom we meet in the idyllic setting of pristine nature: the girl sits motionless on a stone, the river pours noise over her; her eyes were lowered down, but “their gaze, tired of the brilliance scattered everywhere over the water, was not intent. She often took it to the side and directed it into the distance, where round mountains, shaded by forest, stood above the river itself.

The air was still light, and the sky, constrained by the mountains, seemed like a plain among them, slightly illuminated by the sunset.<…>She slowly turned on the stone and leisurely walked up the path, where a tall forest descended towards her along the gentle slope of the mountain.

She entered it boldly.

The sound of water running between the rows of stones remained behind her, and silence opened before her."

At first, the author does not even mention the name of his heroine: he so wants, it seems to me, to preserve the harmony in which the girl is at this moment: the name is not important here - the harmony between Man and Nature is important. But, unfortunately, there is no such harmony in the schoolgirl’s soul. Thoughts, disturbing, restless, do not give Tanya peace. She thinks all the time, dreams, tries to “imagine in her imagination those unexplored lands where the river runs to and from where.” She wants to see other countries, another world (“Wanderlust” has taken possession of her).

But why does the girl so want to run away from here, why doesn’t this air, familiar to her from the first days of her life, nor this sky, nor this forest, attract her now?

She's lonely. And this is her misfortune: “it was empty around<…>The girl was left alone"; "no one is waiting for me at the camp"; "Alone, that means you and I are left. We are always alone<…>she alone knew how this freedom weighed on her.

What is the reason for her loneliness? The girl has a house, a mother (although she is always at work in the hospital), a friend Filka, a nanny, a Cossack cat with kittens, a Tiger dog, a duck, irises under the window... The whole world. But all this will not replace her father, whom Tanya does not know at all and who lives far, far away (it’s like in Algeria or Tunisia).

Raising the problem of single-parent families, the author makes you think about many questions. Do children easily cope with their parents' breakup? How do they feel? How to improve relationships in such a family? How not to cultivate hatred towards a parent who has left the family? But R.I. Fraerman does not give direct answers, he does not moralize. One thing is clear to him: children in such families grow up early.

So the heroine, Tanya Sabaneeva, is seriously thinking about life beyond her years. Even the nanny remarks: “You’re very thoughtful.”<…>you think a lot." And plunging into the analysis of her life situation, the girl convinces herself that she should not love this person, although her mother never spoke badly about him. And the news about her father’s arrival, and even with Nadezhda Petrovna and Kolya, who will study in the same class with her, deprives Tanya of peace for a long time. But without wanting it, the girl is waiting for her father (wearing an elegant dress, the irises and grasshoppers that he loves so much have been picked), trying to deceive herself, explaining the reasons for her behavior in a simulated conversation with her mother And even on the pier, peering at passers-by, she reproaches herself for succumbing to “the involuntary desire of the heart, which is now knocking so hard and doesn’t know what to do: just die or knock even harder?”

It is difficult to take the first step towards a child whom you have not seen for almost fifteen years, Colonel Sabaneev, but it is even more difficult for his daughter. Resentment and hatred fill her thoughts, and her heart reaches out to her loved one. The wall of alienation that has grown between them over many years of separation cannot be destroyed so quickly, so dinners with her father on Sundays become a difficult test for Tanya: “Tanya entered the house, and the dog remained at the door. How often Tanya wished that she would stay at the door, and the dog entered the house!<…>Tanya's heart, against her will, was filled with mistrust over the edge."

But at the same time, everything attracted her here. Even Nadezhda Petrovna’s nephew Kolya, whom Tanya thinks about more often than she would like, and who becomes the object of her gloating, aggression, and anger. Their confrontation (and only Tanya is in conflict) weighs heavily on the heart of Filka, this faithful Sancho Panza, who is ready to do everything in his power for his friend. The only thing Filka cannot do is understand Tanya and help her cope with her experiences, anxieties, and emotions.

Over time, Tanya Sabaneeva begins to realize a lot, her “eyes open,” that internal hard work (and in this she is similar to L. Tolstoy’s heroine, Natasha Rostova) bears fruit: the schoolgirl understands that her mother still loves her father, that no one she will not be such a faithful friend as Filka, that next to happiness there is often pain and suffering, that Kolya, whom she saved in a snowstorm, is very dear to her - she loves him. But the main conclusion that the young heroine makes helps her overcome the sadness of parting with Filka, Kolya, her hometown, her childhood: “Everything cannot pass”, just disappear, “their friendship and everything that enriched them so much cannot be forgotten.” life forever." And this process, so important for Tanya Sabaneeva’s search for spiritual harmony, the author shows through her internal monologues, which become a kind of “dialectic of the soul” of the young heroine: “What is this,” Tanya thought. - After all, he’s talking about me. Is it really possible that everyone, and even Filka, are so cruel that they don’t let me forget for a minute what I’m trying with all my might not to remember!”

Being a master of creating psychologically true human characters, “deep poetic penetration into the spiritual world of his heroes,” the author almost never describes the mental state of the characters or comments on their experiences. R. Fraerman prefers to remain “behind the scenes”, strives to leave us, the readers, alone with his conclusions, paying special attention, according to V. Nikolaev, to “an accurate description of the external manifestations of the mental state of the heroes - pose, movement, gesture, facial expressions, the shine of the eyes , everything behind which one can discern a very complex and hidden from external gaze struggle of feelings, a stormy change of experiences, intense work of thought. And here the writer attaches special importance to the tonality of the narrative, the musical structure of the author’s speech, its syntactic correspondence to the state and appearance of a given character, the general atmosphere of the described episode. R. Fraerman's works, so to speak, are always excellently orchestrated. Using a variety of melodic shades, he knows how to subordinate them to the general structure, and will not allow himself to disrupt the unity of the main motive, the dominant melody."

For example, in the episode “On Fishing” (Chapter 8) we see the following picture: “Tanya was silent with gloating. But her frozen figure with an open head, thin hair curled into rings from the moisture, seemed to be saying: “Look at how he, this Kolya, exists." The author draws a parallel between the heroine’s internal state and the state of nature: the girl is imbued with hostility towards Kolya, and this morning is filled with moisture, fog and cold. After all, even the most basic words of politeness coming from Kolya’s lips cause her to flare up anger: “Tanya trembled with anger.

- "Excuse me, please"! – she repeated several times. - What politeness! You'd better not delay us. Because of you we missed the bite."

And the wonderful description of the snowstorm, created with the help of expressive epithets, comparisons, personifications, metaphors?! This music of the elements! Wind, snow, the sounds of a storm - the sound of a real orchestra: “And the snowstorm was already occupying the road. It came like a wall, like a downpour, absorbing the light and ringing like thunder between the rocks.<…>Tall waves of snow rolled towards her [Tanya] - blocking her path. She climbed on them and fell again and kept walking and walking forward, pushing with her shoulders the thick, continuously moving air, which with every step desperately clung to her clothes like the thorns of creeping grass. It was dark, full of snow, and nothing could be seen through it.<…>everything disappeared, disappeared into this white haze."

How can one not recall here “Buran” by S.T. Aksakov or the description of a snowstorm in A. S. Pushkin’s story “The Captain’s Daughter”!?

Oddly enough, the work of Reuben Fraerman, created in the winter of 1938, when the main literary method in the country was socialist realism, proclaimed at the first congress of writers, is not similar to other works of this period (it is rather closer to the classics of Russian literature of the nineteenth century). The author does not make any of the characters negative or bad. And to Tanya’s question, who is to blame for everything happening like this, her mother answers: “... people live together as long as they love each other, and when they don’t love, they don’t live together - they separate. A person is always free. This is our law for eternity." “Wild Dog Dingo...” differs from other works of the writer about the Far East in that the worldview of a “natural” person, an Evenki boy, is contrasted with the consciousness of Sabaneeva Tanya, confused by a number of sudden psychological problems that are associated with difficult family relationships, the torments of first love , “difficult age”.

Notes

1. Prilezhaeva M. Poetic and tender talent. // Fraerman R.I. Wild dog dingo, or the Tale of first love. Khabarovsk, 1988. P. 5.
2. Fraerman R. ...Or the story of first love. // Fraerman R.I.. Wild dog dingo, or the story of first love. Khabarovsk, 1988. P. 127.
3. Putilova E. Education of feelings. // Fraerman R.I. Wild dog dingo, or the Tale of first love. Kuznetsova A.A. Honest Komsomol. Stories. Irkutsk, 1987. P. 281.
4. http.//www.paustovskiy.niv.ru
5. Fraerman R.I. Wild dog dingo, or the Tale of first love. Khabarovsk, 1988. pp. 10–11.
6. Right there. P. 10.
7. Right there. P. 11.
8. Right there. P. 20.
9. Right there. P. 26.
10. Right there. P. 32.
11. Right there. P. 43.
12. Right there. P. 124.
13. Putilova E. Education of feelings. // Fraerman R.I. Wild dog dingo, or the Tale of first love. Kuznetsova A.A. Honest Komsomol. Stories. Irkutsk, 1987. P. 284.
14. Fraerman R.I. Wild dog dingo, or the Tale of first love. Khabarovsk, 1988. P. 36.
15. Nikolaev V.I. A traveler walking nearby: An essay on the work of R. Fraerman. M., 1974. P. 131.
16. Right there.
17. Fraerman R.I. Wild dog dingo, or the Tale of first love. Khabarovsk, 1988. P. 46.
18. Right there. P. 47.
19. Right there. pp. 97–98.
20. Right there. P. 112.

List of used literature

1. Fraerman R.I. Wild dog dingo, or the Tale of first love. Khabarovsk: Book. publishing house, 1988.
2. Nikolaev V.I. A traveler walking nearby: An essay on the work of R. Fraerman. M.: Det. literature. 1974, 175 p.
3. Writers of our childhood. 100 names: Biographical dictionary in 3 parts. Part 3. M.: Liberia, 2000. Pp. 464–468.
4. Prilezhaeva M. Poetic and tender talent. // Fraerman R.I. Wild dog dingo, or the Tale of first love. Khabarovsk: Book. publishing house, 1988. pp. 5–10.
5. Putilova E. Education of feelings. // Fraerman R.I. Wild dog dingo, or the Tale of first love. Kuznetsova A.A. Honest Komsomol. Stories: Irkutsk: East Siberian Book Publishing House, 1987, pp. 279–287.
6. Russian writers of the 20th century: Biographical dictionary. – M.: Great Russian Encyclopedia. Rendezvous-A.M., 2000, pp. 719–720.
7. Fraerman R. ...Or the story of first love. // Fraerman R.I.. Wild dog dingo, or the story of first love. Khabarovsk: Book. publishing house, 1988. Pp. 125–127.
8. Fraerman R. Connection of Times: Autobiography. // Out loud to myself. M.: Det. lit., 1973. Pp. 267–275.
9. Yakovlev Yu. Afterword. // Fraerman R.I. Wild dog dingo, or the Tale of first love. M.: Det. lit., 1973. Pp. 345–349.

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.

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.