Analysis of the work of Prishvin's pantry. The spiritualization of nature and its participation in the destinies of heroes

The very subtitle of the story “The Pantry of the Sun (Fairy Tale)” forces the reader to pay attention to the genre of the work. “The Fairy Tale” was created in such a way that it intertwines the real and the fabulous, and this happens at all levels and at the linguistic level, because the work clearly traces folklore motifs in the construction of the narrative, in descriptions, in vocabulary, and at the plot level, when the motive of saving the hero from imminent death (a fairy-tale motif) is played out by the writer in such a way that this salvation does not raise the slightest doubt in the reader about its authenticity; and in the images of the heroes - Nastya, Mitrash, old man Antipych, the dog Travka there is a lot from fairy-tale characters - it is no coincidence that the narrator compares Nastya with the Golden Hen, and Mitrash has the nickname “A Little Man in a Bag”.

However, the obvious connection with the fairy-tale world does not turn the story “The Pantry of the Sun” into a stylization; Prishvin creates a completely original work in both genre and visual terms, which describes the amazing and at the same time quite real, sometimes even “mundane” adventures of orphaned children , who, however, live in a way that not every adult will be able to live in such difficult circumstances in which they found themselves after “their mother died of illness and their father died in the Patriotic War.”

Prishvin in his work “Pantry of the Sun” shows children who live adult lives, he lovingly describes Nastya’s thriftiness, Mitrasha’s skill, he openly admires his heroes: “And what smart kids they were! ... there was not a single house where lived and worked together as well as our favorites lived." The writer with great knowledge of the matter describes how Mitrasha makes wooden dishes; he admires Nastya, who, despite her age, behaves like an adult housewife. But, at the same time, children remain children, and the constant squabbles between brother and sister, during which most often Mitrash tries to prove that he is “the boss in the house,” are also dear to the author, he sees in them a genuine relationship between brother and sister, which They love each other very much, between whom there is “such a beautiful equality.”

The characters' personalities are also revealed in the way they gather for cranberries. The thoroughness, the seriousness of the preparations, the brother’s story about the “Palestine” that his father once spoke about, the hope that they will be able to find this “unknown to anyone, where the sweet cranberries grow” - and the ridiculous dispute, as a result of which the brother and sister Let's each go our own way in the forest...

Prishvin is wonderful at describing nature. In “The Pantry of the Sun,” nature becomes an independent character, it lives its own life, but it is also “tuned” in a special way to the lives of the heroes. When Mitrasha and Nastya parted, went in different directions, “Then the gray darkness moved in tightly and covered the entire sun with its life-giving rays. An evil wind blew very sharply. The trees intertwined with roots, piercing each other with branches, growled, howled, groaned throughout the Bludovo swamp ". This is how nature expresses its attitude to what is happening and, as it were, predicts that the heroes will face further trials.

The image of old Antipych was created in fairy-tale traditions: the hero is very old, he does not say how old he is, his speech is full of riddles, he knows how to talk to his dog Grass, he keeps certain secrets that cannot be conveyed to just anyone, to comprehend them a person must certain prepare in a way. Dying, he entrusts his main secret to Grass - relationships between living beings must be built on love, this love must be mutual, it must come to the rescue when living beings need help. It is interesting that Prishvin speaks not only about relationships between people, because it is no coincidence that he calls the death of Antipych a “terrible misfortune” in the life of Travka, who cannot forget her owner and is constantly looking for him, ultimately finding him in Mitrash.” little Antipych,” whom she saved from death in the swamp.

Mitrash found himself in trouble because he relied on himself, forgot about folk wisdom, “Not knowing the ford, he left the beaten human path and climbed straight into Blind Yelan.” The boy, “sensing danger, stopped and thought about his situation,” but was too late and “felt himself tightly engulfed on all sides to the very chest” by a quagmire that would never have let him go if Grass had not come to his aid.

If Mitrasha left the “human path” because of arrogance, then Nastya was taken away from her... by unconscious greed - the girl walked and walked “for cranberries”, and did not notice how she ended up where “people don’t go.” It is noteworthy that, having realized this, she was afraid not for herself, but for her brother, and her desperate cry was heard by Mitrash, who was dying in the swamp. Nastya reproaches herself for her greed, and this moment is one of the most touching in the story.

An understanding was not immediately established between Mitrasha and Travka, but after the boy called the dog who saved him from the quagmire, he was transformed in her eyes, he “shaken off the dirt from his rags and, like a real big man, authoritatively ordered...” - for He became her owner of the grass: “With a squeal of joy, recognizing the owner, she threw herself on his neck...” In moments of mortal danger, Mitrasha behaved like an adult, and a living creature recognized his right to be called the owner - he became truly strong. Confirmation of this is that he manages to kill a seasoned predator, and this turns out to be surprising for people who “gave up their business for a while and gathered, and not only from their village, but even from neighboring villages... And it’s hard to say Who did they look at more - the wolf or the hunter in a cap with a double visor?

The children turned out to be not just wonderful children, the trials they went through revealed new, completely adult qualities, wonderful character traits. Nastya gave all the cranberries, which almost led her astray from the right path in life, to the evacuated Leningrad children, and this was already a completely adult, conscious act that raised the girl even higher in the eyes of the storytellers. Although the author reports that the story is told on behalf of geologists who discovered peat reserves in the “Pantry of the Sun,” the reader understands that the author of the work expresses his life position in it, that he admires the young heroes, in whom there is so much warmth, humanity, and a sense of self. virtues that so sensitively sense the natural world and are such worthy representatives of the human world.

M. M. Prishvin entered literature not only as a talented writer, but also as an ethnographer, geographer, and cosmographer. However, his works were not in demand in Soviet society. Ideal for the literature of that time were works full of high civil and revolutionary pathos, saturated with the socialist slogans of those years. Prishvin’s work was considered an attempt to escape from real life, from solving pressing problems about building a bright future. Prishvin's discovery as a talented word artist took place only in recent decades. Today he is one of the most unsolved writers.

The nature of his native land had a huge influence on all his work. The future writer was born on the Khrushchevo estate. It was here that he learned to listen and hear the sounds of nature, its sometimes quiet and sometimes loud speech. Prishvin was very gifted with hearing “for the whistling of birds, the breathing of grass and the murmuring of animals.” He tried his best to convey the voice of nature, to translate it into human language. We are amazed at this ability of his while reading the story “The Pantry of the Sun.”

The plot of this work is quite simple. This is a story about the life and adventures of two little children who were left orphans in the difficult post-war years. But Prishvin wraps his characters in such a poetic shell that everything that happens becomes like a fairy tale. This is exactly the genre Prishvin chooses for his work - a fairy tale. The concept of “fairy tale” will become central in Prishvin’s work in the 20-50s. For the writer, this concept was a form of artistic storytelling in which he could freely embody his ideals and depict the immutable laws of nature. In “Pantry of the Sun” he creates the image of an ideal village where everyone lives peacefully, amicably, okay. And the small family - brother Mitrasha and sister Nastya - are everyone's favorites, they are two little suns.

They know from my father's stories. This is reminiscent of the saying: “go there, I don’t know where.” Children find themselves in a huge fairyland, where every bush, every bird has the ability to speak and think. The author places us in the wonderful world of nature, while he tries with all his might to show the kinship of man with this natural world: “poor birds and little animals, how they all suffered, trying to pronounce some common, one beautiful word! And even children, as simple as Nastya and Mitrasha, understood their effort. They all wanted to say just one beautiful word. You can see how the bird sings on the branch, and every feather trembles with effort. But still, they cannot say words like we do, and they have to sing, shout, and tap.

Tek-tek! - a huge bird, a capercaillie, taps barely audibly in a dark forest.

Shvark-shwark! - a wild drake flew in the air over the river.

Crack-crack! - wild mallard duck on the lake.

Gu-gu-gu... - a beautiful bullfinch bird on a birch tree.”

The author appears here as a person with a keen ear, capable of hearing and understanding the wonderful language of birds, plants and animals. Prishvin uses a wide variety of means of artistic expression. But the most important technique with the help of which the heroes of the natural world come to life on the pages of the work is personification. In the fairy tale, not only animals, but also birds and even trees had the ability to think. These are raven and crow talking, and cranes announcing the coming of the sun and its sunset, and the groan of fused pine and spruce.

Nature is not inactive, it actively comes to the aid of man. The old women-fir-trees also warn Mitrash about the trouble; they try in vain to block his path to the destructive fir-tree. And the black raven scares him with its cry. What can we say about the smart, quick-witted and devoted dog Travka!

Thus, the main theme in were - the theme of the unity of man with nature. In his works, Prishvin “condenses goodness,” he embodies his ideals and thereby calls on readers to goodness.

The friendly life of Nastya and Mitrasha in the village.

Children gather for cranberries.

The guys quarreled and went different paths.

Nastya finds a Palestinian woman, all strewn with cranberries, and Mitrasha, due to her mistake, ends up in a swamp.

Forester Antipych's dog Travka helps Mitrash out of trouble.

The little hunter kills the old wolf robber Gray Landowner, and the children return home.

“Nastya was like a Golden Hen on high legs. Her hair, neither dark nor light, shimmered with gold, the freckles all over her face were large, like gold coins... Only one nose was clean and looked up. Mitrasha was two years younger than his sister. He was a stubborn and strong boy. “A little man in a bag,” the teachers at school called him smiling among themselves. “The little man in the bag,” like Nastya, was covered in golden freckles, and his nose, clean, like his sister’s, looked up.” The author lovingly describes his characters and gives them cute names. And this, too, is partly reminiscent of a fairy tale. And so our little heroes set off on a long journey to a Palestinian woman, whom they know about from their father’s stories. This is reminiscent of the saying: “go there, I don’t know where.” Children find themselves in a huge fairyland, where every bush, every bird has the ability to speak and think. The author places us in the wonderful world of nature, while he tries with all his might to show the kinship of man with this natural world: “poor birds and little animals, how they all suffered, trying to pronounce some common, one beautiful word! And even children, as simple as Nastya and Mitrasha, understood their effort. They all wanted to say just one beautiful word. You can see how the bird sings on the branch, and every feather trembles with effort. But still, they cannot say words like we do, and they have to sing, shout, and tap.

Tek-tek! - a huge bird, a capercaillie, taps barely audibly in a dark forest.

Shvark-shwark! - a wild drake flew in the air over the river.

Crack-crack! - wild mallard duck on the lake.

Gu-gu-gu... - a beautiful bullfinch bird on a birch tree.”

Thus, the main theme in were - the theme of the unity of man with nature. In his works, Prishvin “condenses goodness,” he embodies his ideals and thereby calls on readers to goodness.

M. M. PRISHVIN
"Pantry of the Sun"

The study of “Pantry of the Sun” should be considered as a continuation and development of the theme “Native Nature”. The teacher’s task in this case is complicated by the fact that the fairy tale “The Pantry of the Sun” is not just a work about nature. In his diary entry, M. Prishvin says: “In „Pantry“I wrote that truth is a harsh struggle for love...” Prishvin creates a fairy tale “for everyone.” The meaning contained in it is deep. Just as the sun deposited its energy in peat deposits, the writer put into the “Pantry of the Sun” everything that he had accumulated over many years: a kind attitude towards people, love for nature... Truth is not just love for a person. It is concluded in a harsh struggle for love and is revealed in the clash of two principles: evil and love. “On one side of the semicircle a dog howls, on the other a wolf howls... What a pitiful howl it is. But you, a passer-by, if you hear and a reciprocal feeling arises in you, do not believe in pity: it is not a dog, man’s most faithful friend, howling, it is a wolf, his worst enemy, doomed to death by his very malice. You, passer-by, save your pity not for the one who howls about himself like a wolf, but for the one who, like a dog that has lost its owner, howls, not knowing who now, after him, to serve.” 9 .

Evil, seeking to satisfy predatory instincts, encounters the power of love, the passionate desire to survive. Therefore, Prishvin’s fairy tale shines not only with love - there is a struggle in it, a clash of good and evil in it.

The author used some techniques of a traditional fairy tale. There are confluences of almost fabulous accidents and coincidences here. Animals take an active part in the fate of children. Raven, poisonous snake, magpie, wolf nicknamed Gray Landowner are hostile to children. The dog Grass, a representative of “good nature,” faithfully serves man. It is interesting to note that the tale was originally called "Man's Friend." All the author’s philosophical discussions about the “true truth” are placed in the chapters telling about Grass.

And at the same time, the events in the work have a real basis. “Pantry of the Sun” was written in 1945, after the end of the Great Patriotic War. And “back in 1940, the author spoke about his intention to work on a story about how two children quarreled and how they went along two separate roads, not knowing that in the forest, very often such bypass roads are again connected into one common one. The children met, and the road itself reconciled them.” 10 (according to the memoirs of V.D. Prishvina).

The technique of merging the fabulous and the real made it possible for the writer to express his ideal, the dream of the high purpose of man, of his responsibility to all life on earth. The fairy tale is imbued with the writer’s optimistic faith in the closeness and possibility of realizing this dream, if one looks for its embodiment in real life, among seemingly ordinary people. The writer expressed this idea primarily in the main characters of the work - Nastya and Mitrash.

The originality of the work is the revelation of man through nature, through man’s relationship to nature. Prishvin wrote: “After all, my friends, I write about nature, but I myself only think about people.”

Possible distribution of material among lessons

Part of the first lesson is devoted to getting acquainted with individual facts of the biography of M. M. Prishvin, as well as his works. This will awaken interest in the work of the writer, with whom most sixth-graders will become acquainted for the first time. In this case, it would be possible to invite students to read in advance some of his works - stories in the collections “Forest Drops”, “Floors of the Forest”, “Golden Meadow”, “Forest Doctor”, etc., and then in a small conversation at the beginning of the lesson to express their opinion or read a review of a book you’ve read.

M. M. Prishvin was born in 1873 near Yelets, on the noble estate of Khrushchevo, owned by his father, who came from Yelets merchants. He grew up among peasant children, studied at the Yelets gymnasium and was expelled from there with a “wolf ticket” for a major quarrel with the teacher. Then Prishvin studied at a real school in Tyumen, passed exams as an external student for a classical gymnasium course, and entered the Riga Polytechnic Institute. For participation in a Social Democratic student organization, he was arrested and, after a year in prison, deported to his homeland under open police surveillance. In 1899, Prishvin traveled to Germany, to Leipzig, from where he returned four years later with a diploma in agronomist. He works at an experimental agricultural station, preparing himself for scientific and pedagogical activities in the laboratory of Academician D. N. Pryanishnikov. But his awakened interest in literature forces him to dramatically change his destiny.

Since 1905, Prishvin became a travel writer, ethnographer, and essayist. Publishes books. Actively collaborates in newspapers. He travels and walks around the country. He maintained this way of life until old age. Prishvin admitted more than once that he embodied in him the dreams and fairy tales of his own childhood...

In children's literature, Prishvin remained as the author of several collections of stories (“Fox Bread”, “The Chipmunk Beast”, “Grandfather’s Felt Boots”, “Stories of the Gamekeeper Mikhail Mikhalych”, etc.), the fairy tale “The Pantry of the Sun” and a wonderful adaptation of the autobiographical story of the Canadian Indian Vash Quonnasin "Grey Owl" 11 .

Instead of a story about a biography, you can read excerpts from “The Golden Rose” by K. G. Paustovsky (chapter “Mikhail Prishvin”).

The second part of the lesson is devoted to reading aloud (by the teacher or a previously prepared student) the beginning of the fairy tale “The Pantry of the Sun.”

At home, sixth-graders read M. Prishvin’s work to the end.

The second lesson can be devoted to an initial acquaintance with the ideological and artistic features of the fairy tale “The Pantry of the Sun”, the characters of its main characters - Nastya and Mitrasha.

The purpose of this lesson is to understand why “The Pantry of the Sun” is called a “fairy tale”. This question is very complex, so you should not try to achieve comprehensive answers in class. At this stage, students will only indicate what can be classified as a fairy tale and what could be considered a fairy tale. To this end, the following questions are proposed:

1. Where and when does the action take place in M. Prishvin’s work “The Pantry of the Sun”?

2. How does the beginning of the work resemble a fairy tale?

3. Remember artistic images, individual episodes that can be called fabulous. Think about what role they play in the work.

4. What is true in “The Pantry of the Sun”?

By highlighting fairy-tale and realistic elements, let us draw students' attention to the fact that the fairy-tale elements in Prishvin's work are no more, but no less, fabulous than all the other images of the work. Consequently, everything here can be called a fairy tale and at the same time a reality. Here it is important to note the features of the writer’s style: when talking about something magical, Prishvin will carefully note “seems”, “as if”, “similar”, and if we are talking about the real, the writer will definitely emphasize the magical properties of kindness and hard work.

Thus, when analyzing, it is important to focus students’ attention on the fact that in the work “Pantry of the Sun” “fairy tale and fairy tale never become different images, different components of the narrative - the essence of Prishvin’s manner is precisely that they are clearly perceptible and absolutely inseparable in each text details" 12 .

The next stage of the lesson is working on the characteristics of Nastya and Mitrasha. Sample questions for conversation:

2. Highlight comparisons and epithets that help to understand the author’s attitude towards Nastya and Mitrasha. What properties of these children’s characters do you think are especially dear to the author?

3. Remember how Nastya and Mitrasha lived after the death of their mother. What kind of relationship developed between them? What do you think was most amazing about their lives?

The main content of the next lesson is understanding the conflict between Nastya and Mitrasha, its causes and consequences; spiritualization of nature, its participation in the fate of heroes.

To understand the conflict between Nastya and Mitrasha, some methodologists propose organizing a discussion that helps to arouse interest in what is read, and also promotes a conscious understanding of the work. The main questions of the lesson: who is right - Nastya or Mitrash? Whose side is the narrator on?

Another way is also possible - “following the author.” In this case, we offer a conversation with constant reference to the text. Sample questions and tasks:

1. Retell in your own words and then read the scene of the argument between Nastya and Mitrasha. Pay attention to how nature “behaves”. Is it possible to determine whose side the author is on?

2. What made Mitrasha take an uncharted path? Why did he get into trouble? How does the author relate to Mitrasha in this story? What helped Mitrasha emerge victorious from everything that happened? Support your assumptions with details from the text.

3. How did Nastya behave when she was alone? Why did she forget about her brother? What does the author condemn in Nastya’s behavior? Find an artistic image that helps you understand the author’s attitude towards Nastya.

4. Why does the writer insert into his narrative a story about a spruce and a pine tree growing together? Why is this story placed before the children appear in the forest?

5. Read the description of nature after the episode of the children’s quarrel (from the words “Then the gray darkness moved in tightly ...” to the words “howled, groaned ...”). Think about how the author helps you understand the meaning of what is happening. What is the author's attitude towards this?

6. Why did Grass come to the aid of man?

It is appropriate not only to specifically remember what personification is, but also to carry out work that will help expand and consolidate this concept. Students give examples from the “Pantry of the Sun”, when inanimate objects are endowed with the signs of living beings, plants and animals seem to acquire human properties: a black grouse greets the sun, a guard raven calls for a close fight, a pine and a spruce, old Christmas trees growing together interfere with Mitrash etc. It is important to make it clear to students that throughout the course of the story one can feel a person’s desire to comprehend and animate nature, to make it understandable, close and dear to people.

At home, students must answer in writing one of the questions proposed for conversation in class.

In the next lesson, after checking your homework, you can begin to summarize what you have learned. The main goal of the lesson is to determine the main idea of the work. Using a system of questions, the teacher will lead sixth-graders to the conclusion - the “truth” of life, its most important meaning lies in the unity of man and nature, in the kindred, wise relationship of man to nature. Using the example of the main characters, the writer strives to show the strength, beauty of man, his power and enormous capabilities. The title of the work is associated not only with peat deposits. The author means the spiritual treasures of a person who lives in nature and is her friend.

Sample conversation questions

1. Why did the writer call his work a fairy tale? What meaning did he put into these words?

After answering this question, it would be appropriate to read the writer’s dedication, placed in one of the first editions for children, “The Pantry of the Sun,” which will help to better understand the meaning of the entire work:

“The content of an ordinary fairy tale is the struggle of a human hero with some villain (Ivan Tsarevich with the Serpent-Gorynych). And at the end of the struggle there must certainly be victory, and a fairy tale in this sense is an expression of the universal faith in the victory of good over evil. With this faith I walked my long literary path, with this faith I hope to finish it and pass it on as an inheritance to you, my young friends and comrades.” 13 .

2. What significance does the story of Travka have in the work?

3. What meaning does the writer give to the words “pantry of the sun”?

4. What is the significance of the dispute between Nastya and Mitrasha in the work? How is this story connected with the words: “This truth is the truth of the eternal harsh struggle of people for love”?

5. How do you imagine the narrator?

6. Read the epigraph to the chapter. How does he characterize the writer?

In conclusion, we can say that after the appearance of “Pantry of the Sun,” the Mosfilm film studio invited Prishvin to write a film script based on this work. The film was never created, but the film story entitled “The Gray Landowner” was published in the collection of works by M. M. Prishvin in 1957.

For independent reading, we can recommend to students Prishvin’s work “The Thicket of the Ship,” where they will again meet Nastya and Mitrasha.

Peculiarities of students’ perception of M. Prishvin’s story “The Pantry of the Sun”

Observing the peculiarities of students' perception of the story, we can conclude that when reading independently, schoolchildren become aware of the plot outline of the story and perceive individual descriptions of nature. The most important point - the reason for the children's quarrel - does not lead them to think; The students limit themselves to reproducing the dispute about which road Nastya and Mitrash should take to Blind Elan. Without the help of a teacher, it is difficult for schoolchildren to reveal the author’s attitude towards nature and people; they do not have the desire to reveal the meaning of the title of the fairy tale.

But one should not rush to conclusions about the nature of students’ direct perception of Prishvin’s fairy tale, for the absence of a verbal report may indicate a lack of conscious perception or experience of aesthetic perception, and not about the limitations of perception of a particular literary work, especially such a complex philosophical work as is “Pantry of the Sun” by M.M. Prishvina.

In connection with the above, there is an assumption that an additional means of identifying the perception of the moral and aesthetic potential of “Pantry of the Sun” can be drawings by schoolchildren, the creation of which they will begin before studying the text in class. In the practice of literature teachers, drawings based on the text of works of art are created by students in the process of analysis in class or after this work. This small experiment has a limited purpose: to identify layers of student perception that are not recorded in a verbal report of what they have read. The results were interesting.

Let’s try to analyze the figurative perception of the text “Pantry of the Sun” by sixth-graders based on their paintings. The methodology for testing the experimental technique for studying artistic perception was as follows. Students of grade VI “B” of the Don Real Gymnasium in Rostov-on-Don, who read Prishvin’s fairy tale, were given the task of creating drawings, choosing any topic, episode, description for this. Let us arrange the resulting children's drawings in accordance with the sequence of events of “The Pantry of the Sun” and similar stages of subsequent textual work, which should help make adjustments to the now traditional method of analyzing Prishvin’s story. The drawings created by the students vary in execution and degree of independence, but they convince of a fairly differentiated and deep perception of the text. The choice of drawing themes is also interesting.

Nastya's portrait was presented by the girls of the class. The students embodied in him what Prishvin revealed in the image of the “golden chicken”. The overall joyful impression of the girl’s portrait is enhanced by the combination of bright colors and golden hair. Nastya seems to be illuminated by the rays of the sun. The drawings of two other students reveal the students’ great attention to the working life of Nastya and Mitrasha, to their simple farming, which suggests the need to pay due attention to this issue in lessons on working on the text. Students depict a village courtyard, a house, buildings, Mitrasha driving out cattle, Nastya herding a goat against the backdrop of a green meadow.

The schoolchildren perceived not only the writer’s special interest in the significance of solar energy in the creation of peat riches, but also the special “sunshine” in the depiction of children, that unique flavor of Prishvin’s fairy tale, which was not felt in their statements in conversations with the teacher preceding the study of “The Pantry of the Sun” "

In the drawing of one of the best students in the class, we see fused trees and two different roads along which the heroes of the story will go: clearly visible, where Nastya is pointing, and almost invisible, overgrown with grass, where Mitrasha’s hand is facing. There is no sense of independence in the drawing, but one is pleased with the attention to Mitrasha’s character, his stubbornness and perseverance.

Three drawings are related to the story of the forester Antipych and the dog Travka. Two drawings reveal the sixth-graders’ perception of the final events of the story.

Children's drawings reveal new aspects of the perception of a work of art. In combination with the data from preliminary oral conversations, these pictorial experiments convince us that the students consciously reacted to the images, theme, and idea of the work. The schoolchildren turned out to be receptive to the ideological concept and artistic style of the author, to his vision of man and nature. It should be noted that conducting this small experiment does not contradict the very nature of Prishvin’s artistic talent. The writer said that he often had two desires: to photograph what he saw and write about it. A striking example is the writer’s photograph “Spruce and Pine on the Bludov Swamp”; it inspired him with one of the significant images of the “Pantry of the Sun”. Working with artistic photographs occupied a special place in Prishvin’s creative life, as evidenced by his numerous expressive photographs, which are presented in the collected works of the writer.

The conducted experiment helps to make adjustments to the work with students at all stages of studying the fairy tale “The Pantry of the Sun.” First of all, it is necessary to increase attention to the development of figurative perception and aesthetic sense of students, to increase the emotional orientation of lessons. More attention will be required to work with those chapters that reveal the role of work in the lives of children, the uniqueness of their characters and life positions; to implement these tasks, creative questions and tasks should be thought through, and increased attention to the speech activity of students and the moral potential of lessons. We should not forget that the interest in various aspects of the work, which cannot be overlooked in the students’ drawings, was revealed in conditions of artistic and aesthetic activity, and not contemplation.

In addition to the four lessons in the program, many had an extracurricular reading lesson, which preceded the main lessons. This helped to introduce students to the world of Prishvin’s artistic works, his unique images, helped to understand the writer’s active love for man and nature, to realize the imagery and significance of the word in a literary work.

The teacher’s brief introductory speech to the study of the fairy tale serves the same purpose, in which the main themes of his works should be touched upon.

Mikhail Mikhailovich Prishvin (1873-1954) was an agronomist, ethnographer, hunter, traveler, and writer.

Prishvin's passion for travel is connected with the desire to discover the unknown, the “unprecedented”. The titles of the writer’s early works alone: “In the Land of Unfrightened Birds” (“Behind the Magic Kolobok” (1907)) show his desire to comprehend the life of man and nature, to combine dream and reality. After 1922, M. M. Prishvin lives in the Moscow region (Zagorsk, Pereslavl-Zalessky, Zvenigorod) During the Great Patriotic War, Prishvin lived in the village of Usolye not far from Pereslavl-Zalessky.In Usolye, he met children orphaned during the war, who ran the household themselves and were very loved by their fellow villagers.

Nastya and Mitrasha become the main characters of the story written by M.M. Prishvin in 1945; he gives it a name and defines the genre: fairy tale. In it, the writer sums up his thoughts about the roads that people choose and about the life of nature. We will try to bring students closer to the images of nature captured by the writer in his photography; for this purpose we will use the Collected Works of M.M. Prishvin 1957. In addition, during the lesson we use frames from a filmstrip about Prishvin.

Let us take a close look at what attracted the writer, and we will see harmony in his attitude towards nature and man, the desire to see in the life of nature that which is akin to the human world. Bizarrely shaped snow-covered trees are associated with the idea of a night watchman or a mother's kiss. He photographs a forest lake and gives the photograph the title “Forest Mirror.”

After the teacher’s introductory speech, we begin work on the text, analyze episodes and descriptions, think about the reasons for the characters’ actions, and make observations on the writer’s artistic words. Various options are possible: reading the story in its entirety or with small cuts (subsequent analysis) or reading in parts with accompanying analysis of the text. The following homework assignments are possible: retell any of the ten chapters of the fairy tale while maintaining the author’s style, write a summary of individual fragments of the text (“The Working Life of Children,” “The Quarrel of Nastya and Mitrasha,” “The Story of the Dog Travka,” “The Gray Landlord Wolf” “Two roads to the Bludovo swamp”), prepare an expressive reading of one of the descriptions of nature.

Taking into account the peculiarities of the initial perception of “Pantry of the Sun” by sixth graders, we will focus on the questions and tasks that are proposed for homework, for analytical conversation, for generalizations at the end of each of the four lessons.

1. Reproduce the description of the appearance of Nastya and Mitrasha, determine the author’s attitude towards children.
2. Talk about the children’s lives, about the role of labor in their destinies.
3. Prepare a retelling of the events at the Bludov Swamp on behalf of Nastya and Mitrasha (optional).
4 Why did the children quarrel? What features of the characters of the young heroes were the cause of their quarrel?
5. Why did Mitrasha get into trouble? What mistake did Nastya make?

b. Tell the story of the dog Travka. How did Grass divide all people in her mind?

7. What is the significance of the pictures of nature in “The Pantry of the Sun”? What is the significance of the image of the sun in the fairy tale? For what purpose does the author use personification?
8. Explain the meaning of the title of the work and the subtitle “fairy tale-true”.

Such questions and assignments orient the class towards understanding the integrity of the work and its main components. In the first lessons, the analysis is based mainly on the reproducing activities of students (tasks 1-3). Next, you should develop imaginative thinking, attention to the moral problems of the work, and cultivate a sense of words (questions and tasks 4-6). The last (8th) question is designed to generalize the observation of the features of the author's intention and genre of the work.

With students, we begin the analysis of the work with the description and characteristics of the main characters, because The author himself begins with this. During the lesson, it is especially important to determine the direction of the analysis, the angle of view that will formulate the assessment of the work and give integrity to both the perception and analysis of the literary text. Students reproduce the opening lines of the story. We decide that it is no coincidence that the whole story is told on behalf of geologists and hunters. At the end of "The Pantry of the Sun" it is said: "We are scouts for the riches of the swamp." But we are not only talking about peat riches; it is not only peat that the sun gives its warmth to. Prishvin writes about the wealth of human souls, about the “beautiful equality” in friendship, about the struggle between good and evil in the human world, in the human soul, in the natural world.

In the description of Nastya’s appearance, the repetition of the word “golden” is striking. It was this feature of hers that was conveyed in children's drawings. Nastya is 12 years old, freckles are scattered all over her face, like gold coins, her hair “glows with gold,” she herself was “like a golden hen.” Next, students talk. that in the description of Mitrash, who was two years younger than his sister, the author emphasizes strength and stubbornness, hence his nickname: “A little man in a bag” (that’s what his teachers at school called him, smiling). He, too, was “all covered in golden freckles.” It’s as if we immediately feel the reflection of the sun’s rays on the children’s faces. The theme of the sun, human warmth literally from the first pages of “The Pantry of the Sun”. The sixth-graders certainly caught this motif during their independent reading, although they were not able to say this in the preliminary conversation. But in the drawings this was reflected in the choice of bright yellow color and in the image of the sun.

Next, we draw students’ attention to the fact that in every word the author’s love for children, and not only the author’s, is visible. Both the storytellers and the neighbors loved the war-orphaned children and tried to help them. Prishvin emphasizes the importance of friendship in the lives of Nastya and Mitrasha: “There was not a single house where they lived and worked as closely as our favorites lived.” There was “beautiful equality” in their friendship, “their friendship overcame everything.” Getting to know the fate of a brother and sister, their common friendly work around the house and household should become a moral lesson for students, a lesson in labor education. It is advisable to devote a significant part of the first lesson to this issue.

Next we talk about the life of Nastya and Mitrasha. The children note that they did not learn everything right away, that what they were left with after their parents was a peasant farm and great care for it. “But did our children cope with such a misfortune during the difficult years of the Patriotic War!” - exclaims the author. “If it was possible,” we read further, “they joined in social work. Their noses could be seen on collective farm fields, in meadows, in barnyards, at meetings, in anti-tank ditches: their noses are so perky.” So, the boys learned everything, especially since in many ways they imitated their father and mother. We note that the guys participated in all general work and activities. Respect for family traditions, the desire to do good not only for oneself, but also for others (Mitrasha made wooden utensils for his neighbors) - everything is naturally connected with one another and reveals the spiritual wealth of the brother and sister. It is no coincidence that out of 11 drawings created by students of Moscow School No. 820, 2 are dedicated to the working life of a brother and sister.

The first two tasks will require the children to thoughtfully consider in detail the first chapter of “The Pantry of the Sun.” Further, there is no need for such a detailed analysis, since the students “entered” the artistic world of the work and learned the author’s initial positions. The next group of questions and tasks covers the main events and descriptions of the story. We start with a task that helps develop observation skills, create positive motivation in relation to the text analysis itself, and awaken the creative principles of the individual. Prepare a retelling of the events at the Bludov Swamp on behalf of Nastya and on behalf of Mitrasha (optional).” Differentiated tasks, in addition, increase interest in class work, introduce an element of comparative analysis and bring closer to solving a number of complex issues related to understanding the author’s position and the characters’ characters.

Students' retellings, as a rule, are distinguished by a clearly expressed personal attitude and analytical character. The teacher helps to comment on the most significant points. It is especially important to connect the events and characters of “The Pantry of the Sun” when adjusting the retellings. Let us recall that M.A. Rybnikova considered “the unity of the event line with the type line” to be one of the foundations of school analysis of a literary work. In general, retelling events from different points of view helps sixth-graders understand the writer’s deep intention behind the apparent simplicity of the plot. The main thing is that thinking about the actions of the heroes becomes a kind of moral lessons for students, helps them think about the reasons for their own actions, instills a sense of responsibility for friendship and work, teaches them to understand the reasons for disputes and disagreements between people and distinguish the true from the false, superficial.

We move on to the quarrel of children at the Lying Stone, as in a mirror, reflected in the state of nature. A cloud appeared in the sky, “like a cold blue arrow, and crossed the rising sun in half.” Then “a second cool blue arrow crossed the sun.” And finally, when the brother and sister went their separate ways, the raven still hit the scythe, and “the gray darkness moved in tightly and covered the entire sun with its life-giving rays.” In this part of the conversation with students, we expand the understanding of personification and its role in a work of art.

We return again to thinking about the deep reasons for children’s quarrels, which will teach schoolchildren to thoughtfully read and analyze, as well as understand the moral potential of the “Pantry of the Sun.” So, what character traits of the young heroes were the cause of their quarrel? Thinking through the answer together leads students to understand the differences in the life positions of brother and sister. Mitrasha strives to discover something new, unknown. He wants to go where “no one has gone before.” Nastya masters the human experience and wants to go where “all people go.” The children did not know that “the big path and the small one, going around the Blind Elan, both converged on the Sukhaya River and there, beyond the Sukhaya River, no longer diverging, they eventually led out onto the big Pereslavl road.”

Mitrasha chooses the direct path, “his path.” Let's tell the class that the theme of one's path, “path,” is one of the central themes of M.M. Prishvin’s work. One of the heroes of “The Ship's Bowl” says that “every person on the path to truth has his own path.” Each person, according to the writer, must come with something personal, something he himself has conquered, onto the common high road of life.” Nastya and Mitrash did not know that both roads converged in one place. They also did not know something else: that Nastya’s faith in human experience should be combined with Mitrasha’s dream of the unknown.

This conclusion leads students to prepare an answer to the 5th question: “Why did Mitrasha get into trouble? What mistake did Nastya make?

The schoolchildren conclude that Mitrash would not have gotten into trouble if he had not left the “human path” and had not forgotten the advice of the old forester Antipych: “If you don’t know the ford, do not go into the water.” Mitrasha walked along the path along which “a person like him was walking, which means that he himself, Mitrasha, could safely walk along it.” But Mitrash decided to shorten the road, “left the beaten human path and climbed straight into Blind Elan.” But Nastya warned him about the danger, and “the white grass showed the direction to go around Elani.” As soon as Mitrash seemed to ignore the experience of people and went straight, leaving aside the white grass - “the constant companion of the human path,” he immediately found himself in danger. At first he did not feel her, which is why the elan was called Blind, “because it was impossible to recognize her by her appearance.” And when the boy sensed danger and stopped, in an instant he sank knee-deep. I tried to jerk - again, and again, and again. And he sank up to his chest, so that he could only hold on by laying his gun flat on the swamp. And it was then that “the magpies, smart for every nasty thing, realized the complete powerlessness of the little man immersed in the swamp.”

The episode where the moose and Nastya meet turned out to be interesting for the students. What is especially striking is that the moose does not mistake Nastya for a person: “She has the habits of ordinary animals.” And only the meeting with the hissing snake brought Nastya to her senses: “Nastya imagined that she herself had remained there, on the stump, and now she had come out of the snake’s skin and was standing, not understanding where she was.” It is advisable in this part of the conversation to turn to the final part of the story. Only when Nastya gave all the healing berries to the evacuated Leningrad children did they understand how much she suffered because of her greed.

After studying “The Pantry of the Sun” by M.M. Prishvin, the teacher can offer the class various tasks: homework essays of various types, the creation of picturesque drawings with the subsequent design of an exhibition in the literature room, a reading competition, an excursion into nature, etc.

At all stages of studying a work (introductory lessons, analysis lessons, summarizing the material in the final lessons), attention to the author’s intention, to his concept of time and man, to the embodiment of this concept in the system of images, in the structure works. The world of the writer’s ideas and his aesthetic principles are not immediately revealed to the student reader, but the lack of purposeful joint activity of the teacher and students in this direction gives rise to an incomplete, fragmented perception, when students do not combine the meaning of individual scenes and episodes into a single picture, do not feel the meaningful function of the composition and genre, they think of the means of poetic expression outside of connection with the very essence of the work.