Why is the story called: “The Wild Dog Dingo, or the Tale of. Reviews of the book The Wild Dog Dingo, or the Tale of First Love The Wild Dog Dingo idea of ​​the work

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 an 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 a 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.

Research work on the topic: “Children’s friendship in the story “The Wild Dog Dingo or the Story of First Love”? »

Chapter I. A word about the writer. Purpose: talk about the writer. Reuben Isaevich Fraerman was born into a poor Jewish family. In 1915 he graduated from a real school. Since 1916 he studied at the Kharkov Institute of Technology. Later he worked as an accountant, fisherman, draftsman and teacher. The writer took part in the Civil War in the Far East. He was the editor of the newspaper "Leninsky Communist" in Yakutsk.

R. Fraerman - participant in the Great Patriotic War: soldier of the 22nd regiment of the 8th Krasnopresnenskaya division of the people's militia, war correspondent on the Western Front. In January 1942 he was seriously wounded in battle and was demobilized in May. In my life I knew Konstantin Paustovsky and Arkady Gaidar.

Chapter II. The story “Wild Dog Dingo” Purpose: to introduce the story and express your opinion about it. The story tells about a girl Tanya Sabaneeva, who is friends with her classmate Filka, who is secretly in love with her.

The girl lives with her mother, she has friends, a dog Tiger and a cat Cossack with kittens, but she feels lonely. Her loneliness is that she does not have a father. No one can replace him. She loves him and hates him at the same time, because he exists and he does not exist. Having learned about her father’s arrival, she is excited and prepares to meet him: she puts on an elegant dress and makes a bouquet for him. And yet, on the pier, peering at passers-by, she reproaches herself for “succumbing to the involuntary desire of her heart, which is now knocking so hard and doesn’t know what to do: just die or knock even harder?”

It’s difficult for both Tanya and her dad to establish a new relationship: they haven’t seen each other for 15 years. But Tanya is more complicated: she loves, hates, is afraid of her dad and is drawn to him. It seems to me that this is why it was so difficult for her to have lunch with her father on Sundays: “Tanya entered the house, and the dog remained at the door. How often Tanya wished that she would remain at the door, and the dog would enter the house!”

The girl is changing a lot, and this is reflected in her relationship with her friends Filka and Kolya. “Will he come?” There are guests, but Kolya is not. “But just recently, how many bitter and sweet feelings crowded into her heart at the mere thought of her father: what’s wrong with her? She thinks about Kolya all the time.” Filka is having a hard time with Tanya’s falling in love, since he himself is in love with her. Jealousy is an unpleasant feeling that befell Filka. He tries to fight jealousy, but it is very difficult for him. Often, this feeling spoils relationships with friends. Children struggle with these problems, and in trying to overcome them, the first feeling appears, both true friendship and sympathy.

Chapter III. Conclusions and answers At the beginning we asked the question: “On what is children’s friendship built?” It seems to me that the story is intended to show the reader that true friendship is built on kindness and support. Sometimes not because of circumstances, but despite them. And the fact that Tanya and her mother are leaving the city should preserve their childhood friendship, which, perhaps, will grow stronger in separation. Leaving does not mean avoiding difficulties, it is the only way to get rid of the contradictions and internal struggle of young heroes.

So I read R.I.'s story. Fraerman “Wild Dog Dingo” and tried to figure out how the guys’ friendships are built... Of course, there are quarrels and resentments, joys and love, helping a friend in trouble, and most importantly, growing up. I liked this work, it is about us, schoolchildren, and is easy to read. In other words, everything was simple and clear, and at the same time very interesting to read. The only thing I didn’t like was the ending – it was sad, and I felt sorry for Filka, I would have liked a more cheerful ending. I advise everyone to read this work, I think you will like it! And maybe you yourself want to write your own story about school friendship...

“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 his beautiful essence.<…>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 is she now not attracted to this air, familiar to her from the first days of her life, nor this sky, nor this forest?

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 grasses 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 her 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, about whom Tanya thinks 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 the given character, and the general atmosphere. of the described episode. R. Fraerman's works, so to speak, are always excellently orchestrated. Using various melodic shades, he knows how to subordinate them to the general structure, and does 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.
4. Wild dog dingo, or the Tale of first love.
5. Kuznetsova A.A. Honest Komsomol. Stories.
6. Irkutsk, 1987. P. 281.
7. http.//www.paustovskiy.niv.ru
8. Fraerman R.I. Wild dog dingo, or the Tale of first love. Khabarovsk, 1988. pp. 10–11.
9. Right there. P. 10.
10. Right there. P. 11.
11. Right there. P. 20.
12. Right there. P. 26.
13. Right there. P. 32.
14. Right there. P. 43.
15. Right there. P. 124.
16. Putilova E. Education of feelings. // Fraerman R.I.
17. Wild dog dingo, or the Tale of first love.
18. Kuznetsova A.A. Honest Komsomol. Stories.
19. Irkutsk, 1987. P. 284.
20. Fraerman R.I. Wild dog dingo, or the Tale of first love. Khabarovsk, 1988. P. 36.

Nikolaev V.I. A traveler walking nearby: An essay on the work of R. Fraerman. M., 1974. P. 131.

1. Right there.
2. Fraerman R.I. Wild dog dingo, or the Tale of first love. Khabarovsk, 1988. P. 46.
3. Right there. P. 47.
4. Right there. pp. 97–98.
5. Right there. P. 112.
6. List of used literature
7. Fraerman R.I. Wild dog dingo, or the Tale of first love. Khabarovsk: Book. publishing house, 1988.
8. Nikolaev V.I. A traveler walking nearby: An essay on the work of R. Fraerman. M.: Det. literature. 1974, 175 p.
9. Writers of our childhood. 100 names: Biographical dictionary in 3 parts. Part 3. M.: Liberia, 2000. Pp. 464–468.

“The Wild Dog Dingo, or the Tale of First Love” is the most famous work of the Soviet writer R.I. Fraerman. The main characters of the story are children, and it was written, in fact, for children, but the problems posed by the author are distinguished by their seriousness and depth.

When the reader opens the work “The Wild Dog Dingo, or the Tale of First Love,” the plot captures him from the first pages. The main character, schoolgirl Tanya Sabaneeva, at first glance looks like all girls her age and lives the ordinary life of a Soviet pioneer. The only thing that distinguishes her from her friends is her passionate dream. An Australian dingo dog is what the girl dreams about. Tanya is raised by her mother; her father left them when her daughter was just eight months old. Returning from a children's camp, the girl discovers a letter addressed to her mother: her father says that he intends to move to their city, but with a new family: his wife and adopted son. The girl is filled with pain, rage, and resentment towards her stepbrother, because, in her opinion, it was he who deprived her of her dad. On the day of her father’s arrival, she goes to meet him, but does not find him in the bustle of the port and gives a bouquet of flowers to a sick boy lying on a stretcher (later Tanya will learn that this is Kolya, her new relative).

Developments

The story about the dingo dog continues with a description of the school group: Kolya ends up in the same class where Tanya and her friend Filka study. A kind of rivalry for their father’s attention begins between the half-brother and sister; they constantly quarrel, and Tanya, as a rule, is the initiator of the conflicts. However, gradually the girl realizes that she is in love with Kolya: she constantly thinks about him, is painfully shy in his presence, and with a sinking heart awaits his arrival on the New Year's holiday. Filka is very dissatisfied with this love: he treats his old friend with great warmth and does not want to share her with anyone. The work “The Wild Dog Dingo, or the Tale of First Love” depicts the path that every teenager goes through: first love, misunderstanding, betrayal, the need to make difficult choices and, ultimately, growing up. This statement can be applied to all the characters in the work, but most of all to Tanya Sabaneeva.

The image of the main character

Tanya is the “dingo dog”, that’s what the team called her for her isolation. Her experiences, thoughts, and tossing allow the writer to emphasize the girl’s main features: self-esteem, compassion, understanding. She wholeheartedly sympathizes with her mother, who continues to love her ex-husband; She struggles to understand who is to blame for the family discord, and comes to unexpectedly mature, sensible conclusions. Seemingly a simple schoolgirl, Tanya differs from her peers in her ability to feel subtly and in her desire for beauty, truth, and justice. Her dreams of uncharted lands and a dingo dog emphasize her impetuosity, ardor, and poetic nature. Tanya’s character is most clearly revealed in her love for Kolya, to which she devotes herself with all her heart, but at the same time does not lose herself, but tries to realize and comprehend everything that is happening.

I really liked the book. But the main character Tanya is deeply antipathetic to me. The work has a double title: “The Wild Dog Dingo” and “The Tale of First Love.” If you imagine these names as a mathematical formula, and each part as a term, you end up with “Wild dog Dingo in the manger.”
I understand that Tanya is still a child, that she herself did not understand her first feelings, especially since she fell in love for the first time while meeting her own father, whom she had never seen before. Agree, this is stress, even despite the fact that the relationship with daddy can be considered improving, which is a considerable merit of the mother, who never told her daughter that her father was a goat, a scoundrel, abandoned an 8-month-old child... Take it, parents, Note - the earth is round, you never know how it will come back to haunt you.

But the way the heroine behaves is beyond normal. See:
1. Mom. Tanya not only loves her mother, but adores her. But at the same time he allows himself to read her personal letters. And inadvertently tease her about her old relationship with her ex-husband. Okay, transitional age.
2. Father. It’s more or less adequate here: I didn’t know - I hated it, I found out - I loved it. And trying to gain attention and support. At the same time, he does not notice that his father gives all this. However, I liked that Tanya, when it dawned on her that her father also knew how to feel and experience, compared him with herself, and did not continue to think in labels.
3. Filka is your best friend. Well, that's who you have to be not to understand that the boy running after you from morning to evening, ready for any ridicule and crazy actions for your sake, is not doing this out of idleness at all... Who, huh? A naive little girl who sees the light in pink? But the following points prove that this person is not like that at all. So I draw a specific conclusion: Tanya understood perfectly well that the Nanai boy was head over heels in love, but it was CONVENIENT for her to pretend that she did not understand. And what? There is no need to respond to signs of attention, and Sancho Panza is always at hand...
4. Half-brother Kolya. Unexpectedly surging love. And how does our dreamer of distant Australian shores manifest herself? First - jealousy towards his father, then towards his neighbor Zhenya, and then the classic: Do you know Lope de Vega? His Countess Diana? Well, here's one on one, only with a bias towards Soviet teenage reality. It was the attitude towards Kolya that made me doubt the girl’s sincerity and kindness, but the last point killed me on the spot.
5. Faithful dog Tiger. A wonderful dog who accompanied her owner on visits and even brought her skates herself if she saw her at the skating rink. And so, in moments of danger, the first thing Tanya did was to throw the aging dog to be torn to pieces by a crowd of brutal sled dogs so that they would change their running route. Yes, she and Kolya were in danger, but just to sacrifice those who are so devoted to you like that, and then cynically exclaim “My dear, poor Tiger!”... I wish you could shut your mouth, my dear!

This is such a surge of emotions for me. I liked the plot, the author’s style, it was interesting to plunge into the atmosphere of a Far Eastern village during the USSR period. But I’ll tell you this: the wild dog dingo is the only dangerous predator on the Australian mainland... And it’s not just that Tanya’s classmates called her that. It's not about her strange fantasies. Children apparently see deeper...

(Book by a Soviet writer).