Fraerman wild dog dingo main idea. "Wild dog Dingo ..." - a book written at the behest of the heart

Plot-Compositional Aspects of Disclosing the Inner World of the Main Character of the Story "Wild Dog Dingo, or the Tale of First Love"

We meet the main character of the story in one of the difficult periods in the life of every person - she is fifteen years old. This is adolescence, transitional age, which is characterized by its own characteristics. At this time, self-consciousness awakens, internal and external conflicts are brewing, difficulties in manifesting one's feelings and states, misunderstanding of oneself results in misunderstanding on the part of others, a great desire to be understood and understand others. These traits common to all adolescents are also manifested in Tanya Sabaneeva. In the story, however, there are no tiresome descriptions of the psychological state of the heroine, the rationale for her actions and internal monologues. Her inner world is revealed through the plot and composition of the work.

Among other plot-compositional aspects of revealing her image, I would like to highlight relationships with parents that develop and change in the process of growing up a girl, and love as a plot-compositional element, since love can be considered as an event that changed the main Tanya.

Tanya grew up without a father. he left the family when she was very young. Of course, that this circumstance was reflected in the personality of Tanya. She steadfastly endured any situation, trying to be a support for her mother. Tanya's attitude to her mother is given a lot of touching lines in the story: “The chest is embarrassed by a feeling of bitter and tender, causing tears in the eyes. Where does it come from? Is it the smell of her mother's hands and face, or the smell of her clothes, or is it her look, softened by constant care, that Tanya carries in her memory everywhere and always?

And at the same time, as is often the case with teenagers, there is something that Tanya cannot even trust her mother. In the house in which they live, she is not always comfortable. And although she often remains “the mistress of her leisure and desires,” but, as the author writes, “only she knew how much this freedom weighed on her. There are no sisters or brothers in the house. And mothers are often absent.

She often had to be forced to remain alone, and her attitude to this loneliness became a criterion for her adulthood, because "Before, every time her mother got out of the house, Tanya began to cry, but now she only thought of her with incessant tenderness."

The fact that Tanya grew up alone may have made her pensive; silence and solitude formed in her a special sensitive attitude to nature and the world around her.

As already mentioned, the inner drama hidden from everyone was the absence of a father in Tanya's life. The figure of the father periodically appears in her mind, but since she is not familiar with him, she is not filled with any emotional meaning for her. Meeting with her father, getting to know him, accepting him - all this will be a serious test for Tanya.

The appearance of her father reveals her inner conflict, which is expressed in the following lines: “Is it not out of pride that she always keeps silent about him? And if you have to say a few words, does not her heart break into pieces at the same time?

It is this conflict that determines one of the pivotal lines of the story, which is intertwined with the line of Tanya's relationship with Kolya. A teenager is trying to master the concept of pride for himself: since he once left them with his mother, it means that she should not love him now, on the other hand, an urgent need for a father, for his care, for a sense of security that only he can give, the need for his love and support. This conflict between the attitudes that Tanya gives herself and her feelings pervades many of the scenes of her meeting with her father.

So, convincing herself that she was not at all going to go to the pier to meet her father, nevertheless, “she intercepted her thin hair with a ribbon and changed her dress, putting on her best”; she, “standing motionless by the flowers”, nevertheless “plucked flowers - locusts and irises, which she had previously grown with care” in order to meet her father with flowers; tries to deceive herself, explaining in her internal monologue the reasons for such behavior, simulating in her imagination a conversation with her mother. Why did she get up so early? “What to do if you can’t sleep,” she would say to her mother if she woke up from the creaking of the door in the house. “What can I do,” she would repeat, “if today I can’t sleep at all.”

Tension is permeated with Tanya's first, unexpected meeting with her father. She peers into his face, eyes, trying to understand if he is really as kind as his mother says about him. She addresses her father to you, does not know how to behave. Together with him, new smells of a leather belt and a cloth overcoat come into her life, new sensations, the heavy sound of his steps, “a man, a father”, which Tanya is not used to hearing in her house.

She tries to seem mature, restrained, but the author speaks in several details about what is happening in Tanya’s soul: “Tanya put her hand to her temple, pressed her fingers on it, as if she wanted to stop the blood rushing to her face.”

Gradually, the ice of mistrust melts. And now Tanya, without noticing it herself, “just leaned against him, lay down a little on her chest. But sweet! Oh, really, it’s sweet to lie on your father’s chest!”

The culmination of the development of relationships is the scene during a snowstorm, when Tanya, exhausted from fatigue, “suddenly touched her father's overcoat.

In the darkness, without any visible signs, not with eyes blinded by snow, not with fingers dead from the cold, but 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.

Papa, papa! she screamed.

I'm here! he answered her.

And her face, distorted by suffering and fatigue, was covered with tears.

About the subtle threads that connect parents with children that are beyond formal logic, Fraerman speaks in this passage.

The resolved conflict affected Tanya's perception of the world around her. Quite unexpectedly for herself, Tanya makes a discovery: “But the hour of dinner did not seem to Tanya now to be such a difficult hour as before. Although her father did not treat her with bird cherry pies so diligently, Nadezhda Petrovna kissed her not so hard on the threshold, and yet her father's bread, which Tanya tasted on her tongue this way and that, now seemed to her different. Every bite was sweet to her. And her father's leather belt, which was always lying on the sofa, seemed different to her, too. She wore it often. And Tanya has never been so good.

The figure of the father, whom the girl has not known since childhood, is so significant to her that it brings confusion and ambiguity into Tanya's perception of the people around her. She notices that the very word "father" introduces alienation into her relationship with her mother. It was because of her father that the first quarrel arose in her relationship with her mother, when Tanya is trying to get an answer to the question: who is to blame for the fact that their father left them. She cannot fully come to terms with the thought of the irreversibility of what happened, with the fact that no one is to blame, it just happens in the life of adults. And by resolving this conflict within herself, Tanya grows up. For the sake of her mother's peace of mind, she is ready to leave the city in which she grew up, and in which her relatives and friends remain. She is attracted, although she does not fully admit to herself, the new house of her father. And although the heart sometimes “began to ache a little - to be filled with resentment”, in her father’s house “...everything attracted her here. And the woman’s voice, which was heard everywhere in the house, her slender figure and kind face, always turned to Tanya with affection, and the big figure of the father, his belt made of thick cowhide, constantly lying on the sofa, and the small Chinese billiards on which they all played , ringing an iron ball on the nails. And even Kolya, always a calm boy, with a stubborn look of completely clean eyes, attracted her to him. He never forgot to leave a bone for her dog."

“There are books,” M. Prilezhaeva wrote, “which, having entered a person’s heart from childhood and youth, accompany him all his life. They console him in grief, cause reflection, and rejoice.” This is exactly what became for many generations of readers the book of Ruvim Isaevich Fraerman "The Wild Dog Dingo, or The Tale of First Love". Published in 1939, it caused a heated discussion in the press; filmed in 1962 by director Y. Karasik - attracted even closer attention: the film was awarded prizes at two international film festivals; played in a radio show by famous actors, glorified by the famous song of Alexandra Pakhmutova - she soon firmly entered the school curriculum in Far Eastern literature.

R. I. Fraerman created the story in the village of Solotcha, Ryazan Region, but the Far East, which conquered him from a young age, made the scene of his work. He confessed: "I knew and fell in love with all my heart and 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 disaster, managed to keep their souls clean, loved the taiga, knew its laws and the eternal laws of friendship between man and man.

There, I saw 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 - these are the heroes of Fraerman's work. Ordinary people. And the plot of the story is simple: the girl will meet her father, who once left the 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 occur with 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, which 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, Reuben Isaevich Fraerman "is not so much a prose writer as a poet. This determines a lot both in his life and in his work. The power of Fraerman's influence lies mainly in his poetic vision of the world, in the fact that life appears before us on the pages of his books in his beautiful essence.<…>prefers to write for youth rather than adults. The immediate youthful heart is closer to him than the wise 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 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 an idyllic setting of pristine nature: the girl sits motionless on a stone, the river pours noise over her; her eyes are lowered, but “their gaze, tired of the brilliance scattered everywhere over the water, was not fixed. She often took it aside and directed it into the distance, where the round mountains, overshadowed by the forest, stood above the river itself.

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

She entered him 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 name his heroine: it seems to me that he so wants 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 soul of a schoolgirl. Thoughts, disturbing, restless, do not give Tanya peace. She thinks all the time, dreams, tries "to imagine in her imagination those unexplored lands where and from where the river runs." She wants to see other countries, another world ("Wanderlust" took possession of her).

But why does the girl want to run away from here so much, why is she not now attracted to this air, familiar to her from the first days of her life, not this sky, not this forest?

She is alone. And this is her misfortune: "it was empty around<…>The girl was left alone"; "no one is waiting for me in the camp"; "Alone, so we are left with you. 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 at work in the hospital all the time), Filka's friend, 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 the same as in Algeria or Tunisia).

Raising the problem of incomplete families, the author makes you think about many issues. Is it easy for children to experience parental separation? What do they feel? How to build relationships in such a family? How not to bring up hatred for 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, seriously reflects on life beyond her years. Even the nanny remarks: "You are very thoughtful<…>you think a lot." And plunging into the analysis of the life situation, the girl convinces herself that she should not love this man, although her mother never spoke badly about him. And the news of her father's arrival, and even with Nadezhda Petrovna and Kolya, who will study with her in the same class, deprives Tanya of peace for a long time.But without wanting it, the girl is waiting for her father (she wears an elegant dress, plucked irises and locusts, which he loves so much), tries to deceive herself, explaining the reasons for her behavior in a simulated conversation with her mother And even on the pier, peering at the passers-by, she reproaches herself for having succumbed to "the involuntary desire of the heart, which now beats so much and does not know what to do: just die or knock even harder?"

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

But at the same time, everything attracted her here. Even the nephew of Nadezhda Petrovna Kolya, whom Tanya thinks about more often than she would like, and who becomes the object of her gloating, aggression, anger. Their confrontation (and only Tanya goes into 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 worries, anxieties, and emotions.

Over time, Tanya Sabaneeva begins to realize a lot, her “eyes open”, that inner hard work (and in this she looks like the heroine of Leo Tolstoy, Natasha Rostova) is bearing fruit: the schoolgirl understands that her mother still loves her father, that no one she will not be such a true friend as Filka, that pain and suffering often coexist with happiness, that Kolya, who 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, childhood: “Everything cannot pass”, just disappear, cannot be forgotten “their friendship and everything that enriched them so much 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 "dialectics of the soul" of the young heroine: "What is this," thought Tanya. “He's talking about me, after all. Is it possible that everyone, and even Filka, are so cruel that they don’t let me forget for a minute what I try with all my might not to remember!”

Being a master of creating psychologically correct human characters, "deep poetic penetration into the spiritual world of his heroes", the author almost never describes the state of mind of the characters, does not comment on their experiences. R. Fraerman prefers to remain “behind the scenes”, seeks 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 characters - posture, movement, gesture, facial expressions, gleam of eyes everything behind which one can see a very complex and hidden from the external view struggle of feelings, a stormy change of experiences, intense work of thought... And here the writer attaches special importance to the tonality of the narration, the musical structure of the author's speech, its syntactic correspondence to the state and appearance of the given hero, the general atmosphere of the described episode. The works of R. Fraerman, so to speak, are always excellently orchestrated. Using a variety of melodic shades, he at the same time knows how to subordinate them to the general system, he will not allow himself to violate the unity of the main motive, the dominant melody ".

For example, in the episode "On a Fishing" (Chapter 8), we observe the following picture: "Tanya was silent with gloating pleasure. But her chilled figure with an open head, thin hair curled into rings from moisture, as if saying:" Look, what a he, this Kolya, is ". The author draws a parallel between the internal state of the heroine and the state of nature: the girl is saturated with dislike for Kolya, and this morning is filled with moisture, fog and cold. After all, even elementary words of politeness flying from Kolya's mouth cause her to flare anger: "Tanya trembled with anger.

- "Excuse me, please"! she repeated several times. - What politeness! You'd better not hold us up. We missed a bite because of you."

And what about the beautiful description of the snowstorm, created with the help of expressive epithets, comparisons, personifications, metaphors?! This music is elemental! Wind, snow, sounds of a storm - the sound of a real orchestra: "A blizzard was already occupying the road. It was a wall, like a downpour, absorbing light and ringing like thunder between rocks.<…>High waves of snow rolled towards her [Tanya] - they blocked the way. She climbed up and down again, and went on and on, her shoulders pushing through the thick, constantly moving air, which at every step desperately clung to her clothes like thorns of creeping grasses. It was dark, full of snow, and nothing could be seen through it.<…>everything disappeared, hid in this white haze.

How not to remember here "Buran" S.T. Aksakov or the description of a blizzard 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 proclaimed at the first congress of writers of socialist realism, is not like 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, bad. And to Tanya’s tormenting question, who is to blame for what happened, 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 disperse. A person is always free. This is our law for eternity." From other works of the writer about the Far East, “Wild Dog Dingo ...” differs in that the worldview of a “natural” person, an Evenk boy, is opposed by the consciousness of Tanya Sabaneeva, confused by a number of sudden psychological problems that are associated with difficult family relationships, tormenting first love , "difficult age".

Notes

1. Prilezhaeva M. Poetic and gentle talent. // Fraerman R.I. Wild dog dingo, or the Tale of first love. Khabarovsk, 1988. S. 5.
2. Fraerman R. ... Or a story about first love.// Fraerman R.I. Wild dog dingo, or a story about 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. Tales. Irkutsk, 1987. S. 281.
4. http.//www.paustovskiy.niv.ru
5. Fraerman R.I. Dingo Wild Dog, or The Tale of First Love. Khabarovsk, 1988, pp. 10–11.
6. There. P. 10.
7. There. S. 11.
8. There. S. 20.
9. There. S. 26.
10. There. S. 32.
11. There. S. 43.
12. There. S. 124.
13. Putilova E. Education of feelings. // Fraerman R.I. Wild dog dingo, or the Tale of first love. Kuznetsova A.A. Honest Komsomol. Tales. Irkutsk, 1987. S. 284.
14. Fraerman R.I. Dingo Wild Dog, or The Tale of First Love. Khabarovsk, 1988. S. 36.
15. Nikolaev V.I. A traveler walking beside him: Essay on the work of R. Fraerman. M., 1974. S. 131.
16. There.
17. Fraerman R.I. Dingo Wild Dog, or The Tale of First Love. Khabarovsk, 1988, p. 46.
18. There. S. 47.
19. There. pp. 97–98.
20. There. S. 112.

List of used literature

1. Fraerman R.I. Dingo Wild Dog, or The Tale of First Love. Khabarovsk: Book. publishing house, 1988.
2. Nikolaev V.I. A traveler walking beside him: Essay on the work of R. Fraerman. M.: Det. literature. 1974, 175 p.
3. Writers of our childhood. 100 names: Biographical dictionary in 3 hours. Ch 3. M .: Liberia, 2000. Pp. 464–468.
4. Prilezhaeva M. Poetic and gentle 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. Novels: Irkutsk: East Siberian Book Publishing House, 1987, pp. 279–287.
6. Russian writers of the XX century: Biographical dictionary. – M.: Great Russian Encyclopedia. Rendezvous-A.M., 2000, pp. 719–720.
7. Fraerman R. ... Or a story about first love.// Fraerman R.I. Wild dog dingo, or a story about first love. Khabarovsk: Book. publishing house, 1988. Pp. 125–127.
8. Fraerman R. Connection of times: Autobiography.// Aloud 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.

And there were, perhaps, only debts with the most vague future. Watching the video film "Bulgakov in Kyiv". Another creative takeoff. The purpose of the lesson. It would seem that sailing has become more spacious, but no, it is 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 "Master and Margarita". Real drama. Life and creation. The hardest period. The novel The Master and Margarita. Bulgakov worked hard and fruitfully. Financial situation. Circle of Moscow writers. Key idea of ​​the novel. Afanasy Ivanovich died.

"Bulgakov Heart of a Dog" - Professor Preobrazhensky - Evgeny Evstigneev. Story composition. 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 relatives. Mikhail Afanasyevich Bulgakov. Bulgakov's works. 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 printed, the plays were withdrawn from the theater repertoire. In 1929, Bulgakov met Elena Sergeevna Shilovskaya, his future third wife. Bulgakov's health is rapidly deteriorating. The writer also begins work on a play about Molière ("The Cabal of Saints").

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

In total there are 24 presentations in the topic

There are works that from a young age go hand in hand with you through life, firmly entering your heart. They delight, sadden, console and make you empathize. This is the book I want to tell you about. " Wild Dog Dingo, or The Tale of First Love”is a whole world of beautiful and noble feelings, a world of kind and courageous 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 trace in the soul, they cause an explosion of feelings, thoughts, emotions, dreams and tenderness in us. A happy and subtle book was written by Ruvim Isaevich Fraerman about a girl Tanya, a girl who dreams of distant unknown countries, an Australian dog Dingo. Strange dreams and fantasies disturb her. And this is also a story about the boys Filka and Kolka, the smart and courageous Colonel Sabaneev, Tanya's sad mother and sensitive teacher Alexandra Ivanovna. In general, this poetic and kind book, about good and noble people. And let them not quite easily and simply live. Grief and happiness, sadness and fun alternate in their lives. They are brave and sympathetic, both when they are sad and when they are having fun. They always behave with dignity, are attentive to people and take care of their relatives and friends. Tanya considers Filka her best and most devoted friend. He is kind and unsophisticated, but he has a brave and warm heart. And friendship with Tanya is not just friendship. This is Love. Timid, pure, naive, the first ...

Reuben Fraerman in " Wild Dog Dingo, or The Tale of First Love ” very accurately and penetratingly draws 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, unknown. And even yesterday's children understand that the time has come to grow up, and the most beautiful, most unique feeling has come to their world - first love. And it is 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 only a friend in him, but pure and young love for this girl exalts Filka, he feels and senses the surrounding reality in a new way. And Tanya fell in love with Kolya. That's right folk wisdom - "From love to hate - one step." Long before Kolya's arrival, Tanya hated her father, his wife and the boy she did not know. It was to them from the family, as Tanya believed, that her father left, leaving his wife and very little daughter. And although Tanya did not remember him at all, she really missed her dad. And after many years, Tanya's father, along 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 close to her father and insists on their meetings. Tanya began to visit the Sabaneevs. She was very envious of looking 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 father replaced his father. Tanya thinks that her father won't look at her like that, 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 with her in the same class, sits next to her at family dinners, plays billiards. But it seems to Tanya that she does not occupy his thoughts the way he does 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 inappropriately. It is not easy at the age of 15 to understand what is happening to you. And only the teacher Anna Ivanovna guesses what happened to her student. Anna Ivanovna noticed that Tanya had become somewhat depressed. “How often she finds her lately both sad and distracted, and yet her every step is full of beauty. Could it really be that love had slipped its quiet breath over her face? ". How beautifully said! Sincere and insightful! We hear the music of the word. And I want to take a deep breath and smile, and so that some obscure and captivating dreams, like those of Tanya Sabaneeva, fly to us. Let even about the wild dog Dingo. Such is the power of art and the power of the word.

Good reading for you!

Fraerman R.I. Wild Dog Dingo, or The Tale of First Love. - M .: Onyx, 2011. - 192 p. - (Library of a Russian Schoolchild) .- ISBN 978-5-488-02537-0

The writing

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

About Filka, as the hero of his future work, the author began to think, 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 him. In the article "... or the Tale of First Love," Fraerman bluntly stated: "There I found my Filka."

And is it not because of this that Filka in the story turned out to be so bright, hardly, perhaps, inferior in strength to the impression made on the reader only by the main character. Filka is remembered for his originality, integrity of character, as if hewn from one strong piece. In spiritual generosity, purity, fidelity, he is almost more generous than Tanya herself. Let's remember how he offers her his friendship, asking her to remember him, "if you need a strong hand, or a lasso with which to catch deer, or a stick, which I learned to use well, hunting for wild grouse in the taiga."

his word is strong, he will never deviate from what he has said, he will never break promises. Filka wins our sympathy with rare purity, he lives with a clear conviction that "everything good must have a good direction", and always follows this conviction. He, without hesitation, although he is able and loves to think everything over, rebels against everything bad. And this does not come from his impatient and impulsive nature, on the contrary, Filka is calm by nature, likes to act slowly, weighing everything, namely from conviction, from early maturity, spiritual maturity, from that hardening that was obtained in the harsh taiga life. It was the taiga life, full of unexpected dangers, that taught him to value friendship above all else, to be patient and fair, to do good.

Here is his conviction: “Having acquired a strange habit of thinking from time to time, Filka thought that if the ancient warriors - and not the old ones, but others whom he sees today under cloth helmets with a red star - did not help each other on a campaign, then how could they win? What if a friend only remembered the friend 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 the hunter, who dropped his knife on the path, could not ask about him the oncoming one, then how could he always fall asleep calmly alone, in the forest, by the fire.

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

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

“If a person is left alone, he risks getting on a bad road,” thought Filka, left completely alone on a deserted street, along which he usually returned with Tanya from school. For a whole hour he waited for her, standing on the corner near the Chinese stall. Whether it was stickies made of sweet dough, lying in a pile on a tray, or whether the Chinese himself in wooden shoes distracted Filka's attention, but only 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 this, Filka came to the bitter conclusion that he knew many things that were of no use to him in the city.

He knew, for example, how to track down a sable by powder near a stream in the forest, he knew that if by morning the bread was frozen in a cage, then he could already go on a visit on dogs - the ice would withstand the sled, and that if the wind was blowing from the Black Spit, and the moon stands round, then you should wait for a snowstorm.

Yes, Filka has a 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 has such qualities as endurance, self-control, good breeding. Devoted to self-forgetfulness to Tanya, ready at any moment to rush to serve her, 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 it, which she sincerely regrets when parting, since it is hardly harder for her to leave Filka than to part with Kolya and her father. Knocked down, just before leaving, Tanya finds her faithful Sancho Pans on the river bank, where they loved to swim together.

“He was shirtless. And his shoulders, drenched in the sun, sparkled like stones, and on his chest, dark from sunburn, bright letters stood out, drawn very skillfully. She read: "TANYA".

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