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Analysis of the work of Vampilov's eldest son. Analysis of the work of the eldest son briefly

teacher of Russian language and literature,

MBOU Khadakhan secondary school,

With. Khadahan, Nukut region

Irkutsk region

e-mail:

VAMPILOV, Familiar and Unfamiliar, BUT TODAY, LIVE.

You have to write about

why you can't sleep at night."

A. Vampilov

The purpose of the literature lesson in grade 11:

to acquaint students with the life and work of A. Vampilov.

R develop the skills of analyzing a literary text, speech and thinking of students.

understand the moral issues of the play "The Elder Son";

cultivate moral ideals.

Equipment:

Portrait of a playwright, exhibition of books with works by A.V. Vampilov, electronic presentation.

During the classes:

Introductory speech of the teacher about the playwright A. Vampilov :

VAMPILOV, ALEXANDER VALENTINOVICH

(1937–1972),

Russian playwright, prose writer, publicist.

On August 17, 1972, at Baikal, the boat, in which A. Vampilov was, at full speed, ran into a firewood log and began to sink. The water, cooled by a recent storm to five degrees, the heavy jacket... He almost swam... But his heart could not stand it a few meters from the shore...
“I think that after the death of the Vologda poet Nikolai Rubtsov, literary Russia had no more irreparable and absurd loss than the death of Alexander Vampilov. Both of them were young, talented, possessed an amazing gift to feel, understand and be able to express the most subtle and therefore unknown to many movements and desires of the human soul, ”V. Rasputin wrote with bitterness and pain.

Today we will talk about Russian drama of the twentieth century. We will talk about the work of the writer, who has an anniversary date, after whom an entire era of Russian drama is named - the Vampilov drama.

And where did it all begin? Since childhood and youth.

2. Student's report about Vampilov

Alexander Valentinovich Vampilov was born on August 19, 1937 in a family of hereditary teachers in the village of Kutulik, Irkutsk Region.Subsequently, the writer will say this about his small homeland: “Wooden, dusty, with vegetable gardens, with a herd of private cows, but with a hotel, police and a stadium. Kutulik lagged behind the village, but did not stick to the city either. In short, the district center from head to toe. The regional center, similar to all the regional centers of Russia, but for the whole of Russia is still one - the only one.

Father, Valentin Nikitovich Vampilov, Buryat, from the family of lamas, teacher of Russian language and literature, director of the Kutulik secondary school. Mother, Anastasia Prokopyevna Kopylova, Russian, from a family of a priest, mathematics teacher, head teacher of the school. V. G. Rasputin dedicated his story “French Lessons” to her.

The moral values inherent in both families brought up in him all the best traits of an intellectual, a decent person.

“Dear Tasha! - Vampilov's father addresses his wife in anticipation of his birth ... - I'm sure everything will be fine. And probably there will be a robber-son, and I'm afraid that he would not be a writer, because in a dream I see writers.
The first time when you and I were going on the night of departure, in a dream with Leo Nikolayevich Tolstoy himself, I was looking for fractions, and they found ... "

August 19, 1937: “Well done, Tasya, after all she gave birth to a son. My hunch came true... son. No matter how I justify the second ... I, you know, have prophetic dreams.

Dreams really turned out to be prophetic.

The year of Vampilov's birth was the year of the 100th anniversary of the death of Pushkin, after whom he was named Alexander. But in the father's prophetic dreams there was not only light. According to popular beliefs, shot - to tears: they shed in the same year - V. Vampilov was repressed, and in 1938 they were shot.

A. Vampilov's childhood, judging by the recollections of his mother and peers, was usually a typical district center post-war childhood: school, hiking, throwing in all directions at once: sports, tomorrow - school theater, the day after tomorrow - music and books, and everything is certainly with heat.

He did not enter right away: he did not pass the German language. I studied the language at home with a teacher.

He entered the university at the Faculty of History and Philology and started a theater from the first year. His sketches and sketches, sometimes written directly at lectures, are readily printed by the university newspaper and the Irkutsk newspaper Soviet Youth.

Soon after graduating from the university, Vampilov published the book “Coincidence” under the pseudonym A. Sanin. He worked as a journalist, headed the department of working youth. graduatedHigher literary courses in Moscow.

The main passion of A. Vampilov was theater, and in literature - dramaturgy. He died at the age of 35, having never seen a single of his plays on the capital's stage, during his lifetime he published only a small collection of stories.

Valentin Rasputin, who had been friends with him since his student years, said: “In poetry, Nikolai Rubtsov, in prose Vasily Shukshin, in dramaturgy Alexander Vampilov ... - it seems that Russian literature almost simultaneously lost its soul and hope with these names ... ".

What struck you in the biography of the writer?

How his worldview was reflected in his work, we will now find out.

3. Lecture of the teacher "The originality of Vampilov's dramaturgy":

As a playwright, Vampilov began with one-act joke plays: "Angel" (later - "Twenty Minutes with an Angel", 1962), "Crow Grove" (1963), "House with Windows in the Field" (1964), etc. By 1972 all the main plays that created the Vampilov Theater were written: “Fair” (1964; later renamed by cultural officials to “Farewell in June”), “Elder Son”, “Duck Hunt” (both - 1967); "The Story of the Long Page" (1968) combined with the early joke "Twenty Minutes with an Angel" into a tragicomic performance in 2 parts "Provincial Anecdotes" (1970); "Last summer in Chulimsk" (1972). The vaudeville "Incomparable Tips" (1972) has not been completed.

Vampilov brought into dramaturgy a strange hero, a hero of extremes, weak and strong at the same time, a familiar stranger, he discovered the character of a spiritual wanderer, a person with a split consciousness, a suffering person, a penitent sinner, traditional for Russian classical literature.

Vampilov rehabilitated forgotten genres in dramaturgy - vaudeville and farce ("Twenty Minutes with an Angel", "Incomparable Nakonechnikov"); genres of high satire - tragifarce and tragicomedy ("The Story of the Metropolitan Page", "The Elder Son"); returned to the domestic drama its cathartic meaning (“Duck Hunt”, “Last Summer in Chulimsk”). In his plays, the conflict between good and evil is freed from purely everyday straightforwardness.

Any of Vampilov's dramas has its own story of creation, stage biography. At the same time, the works complement and clarify each other, creating two major dramatic cycles - satirical and tragic, giving Vampilov's dramaturgy integrity and organic artistic completeness. In different plays, the author considers different options for the behavior of the hero, the motives of his actions. The characters in one play become secondary characters in the next. The secondary ones come to the fore and, turning into the main ones, again demand an extension of their lives in Vampilov's dramas.

The moral quest of the hero, starting in the early play, continues in the next and ends quite unexpectedly in the story described by the author later. The internal relationship of the plays is thought out and organized. For example, in Vampilov's plays an ordinary chance meeting turns into a meeting with death. This is the main moment of crisis - the hero's recognition of himself, the discovery of his true face. Joking jokes lead to serious consequences. The reception of fiction, an imaginary fact (“Twenty minutes with an angel” - there is no angel; “The story with a meter page” - there is no meter page; “Duck Hunt” - there is no hunting for ducks, etc.) connects Vampilov's plays with an atmosphere of conventionality of what is happening.

The cyclicity is emphasized by the dialogic endings of the plays, which are unusual for Soviet drama. The end of the previous play in Vampilov's dramaturgy gives rise to the plot of the next one. The riddles of his finals are solved in subsequent plays.

We can say that his dramaturgy is divided into 2 stages.

The first stage is pedagogical, i.e. The author grows with his character. In this period, A. Vampilov relies on the inexhaustible forces of youth “a person must walk the earth proudly and easily”, therefore, optimism is inherent in the works.

The conflict is twofold:

youth - on the one hand;

the wisdom of the fathers, on the other hand.

Humor serves the task: the resurrection of a person, behind a frivolous look at things, a deep form of cognition of reality is revealed.

Heroes are able to draw conclusions based on inner spiritual values, so the author easily and naturally leads the heroes to proper actions that meet the highest human interests.

The second stage: the new hero, resisting the author, opposes his own ideal situation, the real one, in which there is no place for disinterested love for one's neighbor, goodness for the sake of goodness. Consequently, the position of the author is an honest artist, therefore the main mood of the work is sadness, which permeates all the plays of stage II.

Together with Vampilov, sincerity and kindness came to the theater - old feelings, like bread, and, like bread, necessary for our existence and for art.

What features of the writer's work can you name?

And now we will analyze the work of the playwright, using the information received.

4. Analytical conversation on the play "Elder Son":

This comedy is light and sad; what are the distinguishing features of the Eldest Son play genre?

What is the peculiarity of the character system of the play?

(This is a dramatic work, a conflict between two groups of heroes: normal and abnormal).

Which characters in the play can you classify as normal and abnormal?

Support your answer with lines from the text.

What age group does Sarafanov belong to?

How does it relate to children?

How does he accept the news of the existence of the eldest son?

Busygin. Who is this young man?

How does he feel about his lie that he is the son?

Why can't he be indifferent to the Sarafanov family?

(Busygin took on the problem of a strange family and, from the point of view of morality, helps to revive the family).

What is similar and what is the difference with Silva?

(These heroes have the same fate, but the spiritual world is different).

How do Nina and Vasya treat their father, why?

How do they accept "big brother"?

Kudimov, Makarskaya, Silva. What can be said about these people?

What unites them?

What happens in the end to these people? Have they changed?

Understanding the topic, ideas of conflict.

The first name "Suburb" indicates the place where the action takes place. Why did the author change the title?

(It is very important to understand what is going on in the play.)

What problems are being solved?

(Problems of trust, mutual understanding, kindness, responsibility).

What is the duality of the play?

How is the question of truth addressed in the play? Compare with the question of truth in M. Gorky's play "At the Bottom".

Why do the heroes of the play "The Elder Son" lie? Is there any justification for this lie? Is the truth always necessary?

What is the theme, idea of the work?

(Internal conflict of the hero due to the impossibility of achieving harmony between the ideal and reality).

Why do you think the play is called that?

The ending of the play is optimistic. Do you think this could happen in real life?

How do you think the fate of the characters will develop in the future?

5. Final word of the teacher:

The spiritual kinship of people turns out to be more reliable and stronger than formal relations. Behind the external bravado and cynicism of young people, an ability for love, forgiveness, and compassion, unexpected for them, is revealed. Thus, the play rises from a private everyday history to universal humanistic problems. And the paradox is that people become relatives, they begin to feel responsible for each other. Everything is on his shoulders: hope, the future of the family, and Busygin, the eldest son, is worthy of honor, the moral basis of the “father”, therefore, he revived the family.

Vampilov's play teaches us to be kinder, to love and respect our parents. No matter how your life develops, no matter what, try to remain human.

Let us recall the words of Andrey Grigorievich Sarafanov: “Every person is born a creator, each in his own business, and each, to the best of his strength and capabilities, must create, so that the best that was in him remains after him.”

6. Reflection:

What did the play make you think about? What did you take away from this lesson?

7. Differentiated homework:

1. Write a description of the hero you like.

2. Write a review of the film "Elder Son", comparing it with the play by A. Vampilov.

Literature:

Vampilov A. I'm with you people! - M., 1988. - S. 413.

Russian writers of the 20th century: Biographical dictionary. - M.: Great Russian Encyclopedia; Rendezvous - A. M., 2000. - S. 133.

By genre, the work belongs to the comedy style with the inclusion of tragic motifs in the content, creating the impression of a kind of philosophical parable.

The storyline of the play is based on a strange coincidence, dramatic moments that are the driving force in the development of the narrative action built around the Sarafanov family.

All the characters in the work are presented by the writer as key images, starting with two young friends Silva (Semyon Sevostyanov) and Vladimir Busygin, who, by chance, found themselves on the outskirts of the city and found lodging for the night in the apartment of Sarafanov, the head of a small family consisting of Vasenka, who was finishing school, and daughter Nina, recently married cadet Kudimov.

The events of the play, which began with a simple deception of young men who were looking for a place to sleep, unfold in a serious direction, since the elder Sarafanov suddenly recognizes in Busygin his eldest son, illegitimately born twenty years ago, and the rest of the family subsequently sees their outward resemblance. Thus, Busygin is accepted into the Sarafanov family relationships, which are not prosperous.

The elder Sarafanov is an elderly, intelligent man with a failed career, long abandoned by his wife, raising children alone who do not plan to connect their future lives with an aging father, dreaming of leaving for Sakhalin and the taiga. In Busygin, Sarafanov hopes to find his son's lost love, not feeling deceit and lies, and subsequently not wanting to notice them.

Vladimir gradually gets used to the invented role of a son and begins to take an active part in the life of the family, giving advice to younger children in their personal life, sometimes rudely interfering in private relationships.

The semantic load of the play lies in the depiction by the writer of an acute human need for a constant feeling of spiritual kinship and the desire to find a native home.

Busygin, being a complete stranger to the Sarafanovs, unexpectedly begins to feel a family connection between them and feels his responsibility for their future fate. Despite youthful bravado and cynicism, the ability to manifest true feelings in the form of love, forgiveness, and compassion is born in a young person.

The narrative content of the play “The Elder Son” throughout the development of the action demonstrates, using the example of a simple everyday story, universal humanistic problems in the form of an acute shortage of human kindness, trust, mutual understanding and responsibility, and also depicts the possibility of gaining spiritual kinship between people who are not connected by formal close relationships, who only met by chance.

The writer raises in the play a deeply moral issue, which consists in the dream of every person to find a common family blissful harmony.

Analysis 2

The work of A.V. Vampilov "Elder Son" can be attributed to the comedy genre. But, despite this, tragic moments can be traced in the plot. Therefore, the play is more like a philosophical parable. In the work, events happen as if by chance. All actions revolve around the Sarafanov family.

Absolutely all the characters are the main characters. It can be said that the writer did not deprive anyone of attention. Even seemingly random characters (several guys asked for an overnight stay in the apartment of the Sarafanov family) play a significant role in the work. The Sarafonov family is small; the schoolboy Vasenka is brought up in it and the daughter Nina lives with her husband cadet Kudimov.

The work begins with a story about how the guys were looking for an overnight stay, and found it in the apartment where the Sarafonovs lived. From that moment, events began to unfold in a serious direction. The head of the family recognizes in one guy (Vladimir Busygin) his illegitimate eldest son. He should have been twenty years old. But after a while, all family members began to note the outward similarity of the elder Sarafanov and Busygin. The poor guy was literally dragged into family relationships that were not prosperous.

The head of the Sarafan family is an elderly man, intelligent, but who did not have a career. His wife left him, leaving him two children. Children do not want to live and inspect the old man in the future. They plan to leave the city for Sakhalin. Sarafanov saw his son in Busygin. The old man hoped that the guy would stay with him. Sarafanov believed that his newfound son needed him. Therefore, he did not notice the deception that was happening before his eyes.

Vladimir was not opposed to playing along with the old man and portraying his son. He actively entered the character. The guy quickly gained confidence. Vladimir treated the younger children as if they were his own brothers. He gave them advice and guidance. He tried to teach them about life. Sometimes he went too far and intervened where he shouldn't.

In fact, Busygin was not Sarafanov's own child. But, despite this, feelings of compassion, paternal love and understanding arose between them.

The main idea of the work is that every person wants to feel needed, loved and irreplaceable. The author tried to convey to the reader the idea of how important family relationships and relationships are. The play “The Elder Son” demonstrates the problem of the lack of kindness, caress, care, trust and love in family relationships.

Criticism about the novel The Captain's Daughter of Pushkin and reviews of contemporaries

The very publication of the novel in the Sovremennik magazine did not arouse interest from critics. Not a single magazine or newspaper published in St. Petersburg and Moscow commented on Pushkin's new work.

The play "Elder Son" was announced by A.V. Vampilov by genre as a comedy. However, only the first picture looks comedic in it, in which two young men who missed the train decide to find a way to spend the night with one of the residents and come to the Sarafanovs' apartment.

Suddenly, things take a serious turn. The head of the family ingenuously recognizes the eldest son in Busygin, since twenty years ago he really had an affair with one woman. Sarafanov's son Vasenka even sees the outward resemblance of the hero to his father. So, Busygin and a friend are included in the range of Sarafanov family problems. It turns out that his wife left the musician a long time ago. And the children, having barely grown up, dream of fluttering out of the nest: daughter Nina gets married and leaves for Sakhalin, and Vasenka, not having time to finish school, says that she is going to the taiga to work on a construction site. One has a happy love, the other has an unhappy one. It's not about that. The main idea is that care for an elderly father, a sensitive and trusting person, does not fit into the plans of grown children.

Busygin Sarafanov Sr. recognizes as a son, practically without requiring weighty evidence and documents. He gives him a silver snuffbox - a family heirloom that passed from generation to generation into the hands of his eldest son.

Gradually, the liars get used to their roles as a son and his friend and begin to behave at home: Busygin, already as a brother, interferes in the discussion of Vasenka's personal life, and Silva begins to court Nina.

The reason for the excessive gullibility of the Sarafanov Jr. lies not only in their natural spiritual openness: they are convinced that an adult does not need parents. This idea in the play is voiced by Vasenka, who then nevertheless makes a reservation and, in order not to offend his father, corrects the phrase: "Alien parents."

Seeing the ease with which the children he raised are in a hurry to leave their home, Sarafanov is not very surprised when Busygin and Silva are about to leave in the morning. He continues to believe in the story about the eldest son.

Looking at the situation from the outside, Busygin begins to feel sorry for Sarafanov and tries to persuade Nina not to leave her father. In the conversation, it turns out that the girl's fiancé is a reliable guy who never lies. Busygin becomes interested to look at him. Soon he learns that Sarafanov Sr. has not been working at the Philharmonic for half a year, but has been playing in the railwaymen's club at dances. “He is a good musician, but he never knew how to stand up for himself. In addition, he sips, and so, in the fall, there was a reduction in the orchestra ... ”- says Nina. Sparing their father's pride, the children hide from him that they know about the dismissal. It turns out that Sarafanov himself composes music (cantata or oratorio “All people are brothers”), but he does it very slowly (stuck on the first page). However, Busygin treats this with understanding and says that perhaps this is how serious music should be composed. Calling himself the eldest son, Busygin takes on the burden of other people's worries and problems. His friend Silva, who made a mess by presenting Busygin as Sarafanov's son, is only having fun by participating in this whole confusing story.

In the evening, when Nina Kudimov's fiancé comes to the house, Sarafanov raises a toast to his children and utters a wise phrase that reveals his philosophy of life: “...Life is fair and merciful. She makes heroes doubt, and those who did little, and even those who did nothing, but lived with a pure heart, she will always console.

Truth-loving Kudimov finds out that he saw Sarafanov in the funeral band. Nina and Busygin, trying to smooth the situation, claim that he made a fool of himself. He does not let up, continuing to argue. In the end, Sarafanov confesses that he has not played in the theater for a long time. “I didn’t turn out to be a serious musician,” he says sadly. Thus, the play raises an important moral issue. Which is better: the bitter truth or the saving lie?

The author shows Sarafanov in a deep impasse in life: his wife left, his career failed, and his children don't need him either. The author of the oratorio "All people are brothers" in real life feels like a completely lonely person. “Yes, I brought up cruel egoists. Callous, prudent, ungrateful,” he exclaims, comparing himself to an old sofa that they have long dreamed of throwing away. Sarafanov is already going to go to Chernigov to Busygin's mother. But suddenly the deception is revealed: having quarreled with a friend, Silva betrays him to imaginary relatives. However, the good-natured Sarafanov this time refuses to believe him. “Whatever it is, I consider you my son,” he says to Busygin. Even after learning the truth, Sarafanov invites him to stay in his house. Nina also changes her mind about leaving for Sakhalin, realizing that Busygin, who lied in his soul, is a good, kind person, and Kudimov, who is ready to die for the truth, is cruel and stubborn. At first, Nina even liked his honesty and punctuality, the ability to keep his word. But in reality, these qualities do not justify themselves. Kudimov's straightforwardness becomes not so necessary in life, as it makes the girl's father hard to experience his creative failures, exposes his spiritual wound. The pilot's desire to prove his case turns into an unnecessary problem for no one. After all, the children have long known that Sarafanov does not work at the Philharmonic.

Putting a special meaning into the concept of "brother", A.V. Vampilov emphasizes that people should treat each other more carefully, and most importantly, not try to play with other people's feelings.

The happy ending of the play reconciles its central characters. It is symbolic that both the main deceiver and adventurer Silva, and the truth-loving to the marrow of his bones Kudimov leave Sarafanov's house. This suggests that such extremes are not needed in life. A.V. Vampilov shows that a lie is still sooner or later replaced by the truth, but sometimes it is necessary to give a person the opportunity to realize this himself, and not bring him to clean water.

However, this problem has another side. Feeding yourself with false illusions, a person always complicates his life. Afraid to be frank with the children, Sarafanov almost lost his spiritual connection with them. Nina, wanting to quickly arrange her life, almost left for Sakhalin with a man she does not love. Vasenka spent so much energy trying to win Natasha's favor, not wanting to listen to his sister's sound reasoning that Makarskaya was not a match for him.

Many consider Sarafanov Sr. blessed, but his endless faith in people makes them think and take care of him, becomes a powerful unifying force that helps him keep his children. Not without reason, during the development of the plot, Nina emphasizes that she is her father's daughter. And Vasenka has the same "fine mental organization" as his father.

As at the beginning of the play, Busygin in the finale is again late for the last train. But the day spent in the Sarafanovs' house teaches the hero a good moral lesson. However, getting involved in the struggle for the fate of Sarafanov Sr., Busygin receives an award. He finds the family he dreamed of. In a short time, until recently, completely strangers to him, people become close and dear. He breaks with the empty and worthless Silva, who is no longer interested in him, and finds new true friends.

"Oldest Son"

Nina tells. Sparing their father's pride, the children hide from him that they know about the dismissal. It turns out that Sarafanov himself composes music (cantata or oratorio “All people are brothers”), but he does it very slowly (stuck on the first page). However, Busygin treats this with understanding and says that perhaps this is how serious music should be composed. Calling himself the eldest son, Busygin takes on the burden of other people's worries and problems. His friend Silva, who made a mess by presenting Busygin as Sarafanov's son, is only having fun by participating in this whole confusing story.

The author shows Sarafanov in a deep impasse in life: his wife left, his career did not take place, his children also do not need him. The author of the oratorio "All people are brothers" in real life feels like a completely lonely person. “Yes, I brought up cruel egoists. Callous, prudent, ungrateful,” he exclaims, comparing himself to an old sofa that they have long dreamed of throwing away. Sarafanov is already going to go to Chernigov to Busygin's mother. But suddenly the deception is revealed: having quarreled with a friend, Silva betrays him to imaginary relatives. However, the good-natured Sarafanov this time refuses to believe him. “Whatever it is, I consider you my son,” he says to Busygin. Even after learning the truth, Sarafanov invites him to stay in his house. Nina also changes her mind about leaving for Sakhalin, realizing that Busygin, who lied in his soul, is a good, kind person, and Kudimov, who is ready to die for the truth, is cruel and stubborn. At first, Nina even liked his honesty and punctuality, the ability to keep his word. But in reality, these qualities do not justify themselves. Kudimov's straightforwardness becomes not so necessary in life, as it makes the girl's father hard to experience his creative failures, exposes his spiritual wound. The pilot's desire to prove his case turns into an unnecessary problem for no one. After all, the children have long known that Sarafanov does not work at the Philharmonic.

Putting a special meaning into the concept of "brother", A.V. Pi-lov emphasizes to you that people should be more careful with each other, and most importantly, do not try to play with other people's feelings.

However, this problem has another side. Feeding yourself with false illusions, a person always complicates his life. Afraid to be frank with the children, Sarafanov almost lost his spiritual connection with them. Nina, wanting to quickly arrange her life, almost left for Sakhalin with a man she does not love. Vasenka spent so much energy trying to win over Natasha, not wanting to listen to his sister's sound reasoning that Makarskaya was not a match for him.

1. Alexander Valentinovich Vampilov

2. "Elder son"

3. For grade 11

5. This work was written in 1967, and was first published in 1968. In the same year, A. Solzhenitsyn completed The Gulag Archipelago, the Soviet MIG-23 aircraft soared into the sky for the first time, and the wonderful director Fyodor Bondarchuk was born.

The events described in this work take place in the second half of the 20th century in a small provincial village.

The main character of the play is Vladimir Busygin, a medical student. Busygin's newly-made comrade, Semyon Sevostyaov, nicknamed Silva, willingly gives useful and not very advice to the main character. Andrey Grigoryevich Sarafanov is a fifty-five-year-old musician who alone raises and brings up his two children. Sarafanov's eldest daughter Nina is 19 years old, she can't wait to marry a cadet of the flight academy Mikhail Kudimov and go to the city with him. The youngest son of Andrei Grigorievich, Vasenka, is unrequitedly in love with Natalya Makarskaya (a woman 10 years older than Vasenka).

Brief story

The play begins with a story about how Busygin and Silva, having just met, escort two friends home, hoping to spend the night with them.

However, the girls refuse to take them in, and the young men discover that they missed the train. It is cold to stay outside, so without thinking twice, the comrades begin to look for lodging for the night in the district, but people are afraid to let strangers into their house late at night. Quite by chance, Busygin and Silva learn the name of Sarafanov, who left his apartment and went about his business. Young people decide to take advantage of this and go straight to Sarafanov's apartment, where Vasenka meets them. Silva introduces Busygin to him as the eldest son of his father, who many years later decided to visit his biological father. Vasenka immediately received the guests and began to treat them with whatever they could find. Later, when Grigory returned, the young people easily assured him that they were telling the truth, and daughter Nina did not take long to convince herself. In the morning, Busygin and Silva decide to safely leave the apartment without making a fuss. But, after Sarafanov gives his "eldest son" a family heirloom, Busygin decides to stay a little longer. Later, the protagonist notices that he is falling in love with his "sister" Nina, and, unable to withstand the barrier between them, confesses to all the lies. However, Busygin became so attached to his "father" that he himself no longer believes that he is not his son. To which Sarafanov replies: “Whatever it is, I consider you my son.” After that, Vladimir Busygin remains in the Sarafanovs' house.

Review (My opinion)

I liked the play very much, because it carries real fatherly love and sincerity, despite such a big deceit, this work remains really kind for me.

Always like this: tragedy with elements of comedy and comedy with elements of tragedy. The creator of "Duck Hunt" did not do anything special, he just tried to reproduce life in his works as it is. In it, there is not only black and white, the existence of a person is filled with halftones. Our task is to tell about this in the article, in which the analysis will be carried out. Vampilov, "Elder Son" - in the focus of attention.

It should immediately be noted that a brief retelling (it will contain some analytical observations) of Vampilov's masterpiece is also necessary. We are starting on it.

Failed party for four

It all starts with the fact that two young guys (Vladimir Busygin and Semyon Sevostyanov) in their 20s saw off the girls and expected a pleasant evening, but the girls turned out to be “not like that”, which they told the boyfriends about. Of course, the guys argued a little for the sake of appearance, but there is nothing to be done, on the side of the girls is always the key word in a romantic matter. They remained on the outskirts of the city, without shelter, and it was cold outside, the last train left.

There are two zones in this area: the private sector (there are village-type houses) and directly opposite is a small stone house (three floors high) with an arch.

Friends decide to split up: one goes to look out for an overnight stay in a stone shelter, and the other cultivates the private sector. Busygin knocks on the door of 25-year-old local court worker Natalya Makarskaya. Some time ago, she quarreled with 10-grader Vasenka, who, apparently, has long and hopelessly been in love with her. She thought it was the young man again, but no. Makarskaya and Busygin argue for some time, but, of course, the young man does not get an overnight stay with the girl.

Sevostyanov Semyon (Silva) is refused by a resident of the house opposite. Young people find themselves where they were - on the street.

And suddenly they watch how an elderly man - Andrey Grigorievich Sarafanov - a clarinetist who serves in the orchestra, according to the official version, but actually plays at funerals and dances, knocks on Natasha's door and asks to give him a few minutes. Young people think that this is a date, and decide to break into Sarafanov's apartment under any pretext, they do not want to freeze on the street.

Our task is to analyze: Vampilov (“The Elder Son”, his play) is his object, therefore it should be noted that the characters Busygin and Silva at first seem to be completely superficial, frivolous people, but in the process of plot development one of them changes before the reader’s eyes: it acquires depth of character and even some attractiveness. Who, we will find out later.

Keeping in mind the goal, it must also be said that Busygin is fatherless and a medical student, his mother lives in Chelyabinsk with his older brother. What Silva does is completely irrelevant in the context of our plan.

An unexpected addition to the family

Young people are not mistaken: indeed, the door to the Sarafanovs' apartment remains open, and Vasenka, upset by the recent love failure, is going to run away from home, as it turns out a little later, his goal is the taiga. Sarafanov's daughter (Nina) will leave for Sakhalin not today or tomorrow, one of these days she will marry a pilot. In other words, discord reigns at home, and its inhabitants are not up to guests, even if they are expected, or not, so the aliens chose the moment well. We will also need this for our analysis. Vampilov ("Elder Son") wrote his play filigree, all the characters perform their parts flawlessly and realistically.

Busygin pretends to know Vasenka's father and says the following phrase: "All of us, people, are brothers." Silva begins to spin this idea and brings it to the point that Vladimir is Vasenka's unexpectedly found half-brother. The young man is in shock, Busygin is also slightly stunned by the agility of his comrade, well, what to do, I don’t want to spend the night on the street. They play this performance in front of the Sarafanovs. As the analysis shows, Vampilov ("Elder Son") began the play with a prank. His drama is based on a joke, and the whole play seems to be something like a comedy, but this is only at first glance.

Vasya is looking for something to drink. Young people, including a 10th grader, use. Then Sarafanov appears, and the unlucky mourners hide in the kitchen. Vasya tells his father the whole story of his eldest son. The old man begins to recall aloud the details of the meeting with Vladimir's possible mother and involuntarily gives the swindlers all the necessary information, and they eagerly catch every word: the name of the woman, the city (Chernigov), the desired age of the eldest son, if he were.

Then Vladimir appears, answers all his father's questions correctly. The house is overwhelmed by general jubilation, and the booze continues, but now Sarafanov Sr. has joined her.

Nina comes out to the noise and demands an explanation. At first, the girl does not trust her older brother, then she also gains confidence in him.

Busygin begins to believe in his own game. character spawn point

Contact is instantly established between Busygin and the elderly man, and the father opens his whole soul to the prodigal son. They talked all night. From nighttime communication, Vladimir learns the details of the life of the Sarafanovs, for example, that Nina will soon marry a pilot, as well as the mental anguish of his father himself. How hard it was for the family. Impressed by the night conversation, after his father had gone to bed, Vladimir wakes up Semyon and begs him to leave quickly, but Andrei Grigorievich finds them at the door. He asks his eldest son to accept a family heirloom - a silver snuffbox. And then a spiritual upheaval happens to Vladimir. Either he felt very sorry for the old man, or himself, because he did not know his father. Busygin imagined that he was indebted to all these people. He believed that he was related to them. This is a very important point in the study, and the analysis of Vampilov's play "The Elder Son" moves on.

Love as a unifying force

When the holiday was noisy, it was necessary to clear the table and generally put the kitchen in order. Two volunteered to do this - Busygin and Nina. During the joint work, which, as you know, unites, love took out its own and pierced the heart of each of the young people. Further narration only follows from such a landmark event. An analysis of Vampilov's play "The Elder Son" brings us to this conclusion.

By the end of cleaning Busygin, for example, allows himself very caustic and caustic remarks about Nina's husband at five minutes. She not only rejects them, but also does not resist her brother's poison too much. This suggests that the "relatives" are already on friendly terms with each other, and only strong mutual sympathy can be responsible for the rapid development of trusting relationships in a short time.

Spontaneously emerging love between Vladimir and Nina builds the whole further plot and is the force that unites the Sarafanov family again into a single whole.

Divergence in different spheres of Busygin and Sevostyanov

Thus, mindful of the newly born love, the reader understands that Vladimir is now not illusory, but really becomes his own in the Sarafanov family. An unexpected guest becomes the nail that does not allow relatives to lose ties with each other, he connects them, becomes the center. Silva, on the contrary, turns out to be more and more alien to Busygin and the house where they were accidentally brought, so Semyon tries to extract at least something from the current situation and tries to have an affair with Natasha Makarska. A wonderful play was written by Vampilov - "The Elder Son" (analysis and summary continue).

Appearance of the groom

On the day of cleaning the kitchen, a significant event should take place: Nina plans to introduce her father to her fiancé, a flight school cadet Mikhail Kudimov.

Between morning and evening, a whole chain of events takes place, which is worth mentioning at least briefly: Makarskaya changes her attitude towards Vasenka from anger to mercy and invites him to the cinema. He rushes off to buy tickets, unaware that Silva is already weaving her web of seduction. In it, he expects to catch Natasha. She readily, of course, yields to a lover of women, because Semyon is more suitable for her age. Silva and Natasha are due to meet at exactly 22:00. At the same time, an inspired boy takes tickets to a movie show. Natasha refuses to go with him and reveals the secret that Andrei Grigorievich came to her at night to woo Vasyatka.

A fiery young man in despair, he again runs to collect a backpack in order to leave the house away into the arms of the taiga. Somehow, the characters in the utmost nervous tension are waiting for the evening and the arrival of the groom.

The representation of the parties somehow immediately goes at random. The newly-made older brother and Silva make fun of the cadet, he is not offended, because he "loves funny guys." Kudimov himself is always afraid of being late for the military hostel, and in general, the bride is a burden to him.

Here comes the father of the family. Having met Sarafanov, the groom begins to suffer from the fact that he cannot remember where he saw the face of the future father-in-law. The elderly man, in turn, says that he is an artist, therefore, probably, the pilot saw his face either in the philharmonic society or in the theater, but he brushes aside all this. And suddenly, like a bolt from the blue, the cadet says: “I remembered, I saw you at the funeral!” Sarafanov is forced to admit that yes, indeed, he has not been working in the orchestra for 6 months.

After revealing the secret, which was no longer a secret to anyone, since the children had known for a long time, another scandal broke out: Vasya leaves the house with screams and groans, determined to get to the taiga. The groom also, having seen enough, hurries back to the military hostel before it closes. Silva goes to the movies. The father of the family has a tantrum: he also wants to go somewhere. Busygin and Nina calm him down, the musician gives in. All this is very important, as it is directly related to the climax. Masterfully everything was done by Vampilov. “Elder Son” (we provide an analysis of the work) continues.

Catharsis

Vladimir then confesses to Nina that he is not her brother and, even worse, he loves her. At the moment, probably, according to the author's intention, a catharsis should occur with the reader, but this is not quite the denouement. In addition, Vasyatka runs into the apartment and admits that he set fire to Makarska's apartment just at the time when she was there with Silva. The latter's trousers fell into disrepair due to the hooligan antics of the young man. To complete the picture, the unfortunate father came out of his room with a suitcase, ready to go to Chernigov to Vladimir's mother.

Fed up with the performance on a wave of disappointment from ruined clothes, Semyon pawns Busygin and says that Vladimir is the same son to Sarafanov as he is his niece, and leaves.

Sarafanov does not want to believe and claims the opposite. Moreover, he even offers Volodya to move from the student hostel to them. In the intricacies of all these events, Busygin discovers that he was again late for the train. Everyone laughs. Everyone is happy. Thus ends the play written by Alexander Vampilov. The Elder Son (analysis also shows this) is an extremely difficult and ambiguous work to evaluate. It remains for us to draw some conclusions.

A family in a rut

Now that we know the whole story, we can reflect on who the “eldest son” was in this whole story.

It is obvious that the family was falling apart: the father lost his job, began to drink. The walls of loneliness began to converge, he was in despair. The daughter was tired of pulling the whole family (she had to work, and therefore looked older than her 19 years), it seemed to her that leaving for Sakhalin as the wife of a military pilot was a wonderful way out. Still better than this life. Vasenka also looked for a way out and did not find it, so he decided to go into the taiga, since he did not manage to cling to a more experienced woman (Natasha Makarskaya).

During the night conversation, when the father dedicated his son to the details of his life and the details of the life of his family, he very accurately described the situation, it could be fit in one phrase: “Everyone is running, anticipating a huge tragedy hanging over them.” Only Andrei Grigoryevich has nowhere to run.

Busygin as a savior

The older brother came just when everyone needed him. Vladimir restored the balance and harmony of the family. Their love with Nina filled the empty reservoirs of family grace, and no one wanted to run anywhere.

The father felt that he had a son, the eldest son, on whom he could rely. Nina realized that it was not necessary to go to the island, and her brother was able to overcome his painful attachment to a girl much older than himself. Naturally, under Vasya's love for Natasha, there was a global longing for his mother, a sense of security and comfort.

The only character in the play who has remained at an absolute loss is Silva, since all the other main characters have formed an inner circle. Only Semyon was excluded from it.

Of course, Vladimir Busygin also won in the end: he had a father, whom he had dreamed about since childhood. In other words, the play ends with a scene of shared family harmony. This concludes the brief analysis. "The Elder Son" by Vampilov is written brilliantly, and it is not only a wonderful, but also a profound work that poses serious questions to the reader.

Two young people - medical student Busygin and sales agent Semyon, nicknamed Silva - hit on unfamiliar girls. After seeing them home, but not meeting with the further hospitality they expected, they discover that they missed the train. The time is late, it is cold outside, and they are forced to seek shelter in a strange area. Young people themselves hardly know each other, but misfortune brings them together. Both of them are guys with humor, they have a lot of enthusiasm and game, they do not lose heart and are ready to take advantage of any opportunity to warm up.

They knock on the house of a lonely thirty-year-old woman, Makarskaya, who has just driven away Vassenka, a tenth grader who is in love with her, but she sends them off too. Soon, the guys who do not know where to go see how an elderly man from a neighboring house calls out to her, calling himself Andrei Grigoryevich Sarafanov. They think that this is a date, and decide to take advantage of the opportunity to visit him in the absence of Sarafanov and warm up a little. At home, they find the upset Vasenka, the son of Sarafanov, who is experiencing his love failure. Busygin pretends to know his father for a long time. Vasenka is very wary, and Busygin tries to reassure him, saying that all people are brothers and we must trust each other. This leads the cunning Silva to the idea that Busygin wants to play a trick on the boy, introducing himself as the son of Sarafanov, Vasenka's half-brother. Inspired by this idea, he immediately plays along with his friend, and the dumbfounded Busygin, who did not mean this at all, appears to Vasenka as his unknown older brother, who finally decided to find his father. Silva is not averse to developing success and inclines Vasenka to celebrate the event - to find something from alcohol in the bins at home and drink on the occasion of finding a brother.

While they are celebrating in the kitchen, Sarafanov suddenly appears, having gone to Makarskaya to ask for his son, who is drying with love. Drunk Vasenka stuns him with stunning news. Confused Sarafanov does not believe at first, but, remembering the past, he nevertheless admits such a possibility - then the war had just ended, he "was a soldier, not a vegetarian." So his son could have been twenty-one years old, and his mother's name was... her name was Galina. These details are heard by Busygin peering out of the kitchen. Now he is more confident in himself when meeting with an imaginary father. Sarafanov, while questioning the newly-born son, is more and more convinced that he really is his offspring, who sincerely loves his father. And Sarafanov now really needs such love: the youngest son has fallen in love and strives to get out of hand, his daughter is getting married and going to Sakhalin. He himself left the symphony orchestra and plays at dances and at funerals, which he proudly hides from the children, who, nevertheless, are in the know and only pretend that they know nothing. Busygin plays his role well, so that even Sarafanov's adult daughter Nina, who at first met her brother very incredulously, is ready to believe.

Sarafanov and Busygin spend the night in a confidential conversation. Sarafanov tells him all his life, opens his soul: his wife left him because it seemed to her that he played the clarinet for too long in the evenings. But Sarafanov is proud of himself: he did not allow himself to dissolve in the bustle, he composes music.

In the morning, Busygin and Silva make an attempt to slip away unnoticed, but collide with Sarafanov. Upon learning of their departure, he is discouraged and upset, he gives Busygin a silver snuffbox as a keepsake, since, according to him, in their family it always belonged to the eldest son. The touched impostor announces his decision to stay a day. He helps Nina tidy up the apartment. A strange relationship develops between him and Nina. It seems that they are brother and sister, but their mutual interest and sympathy for each other clearly do not fit into the family framework. Busygin asks Nina about the groom, involuntarily releasing jealous barbs at him, so that something like a quarrel occurs between them. A little later, Nina will also react jealously to Busygin's interest in Makarska. In addition, they constantly turn to the conversation about Sarafanov. Busygin reproaches Nina for the fact that she is going to leave her father alone. They are also worried about their brother Vasenka, who now and then makes attempts to run away from home, believing that no one needs him here.

Meanwhile, Vassenka, encouraged by the unexpected attention of Makarska, who agreed to go to the cinema with him (after talking with Sarafanov), comes to life and now is not going to go anywhere. However, his joy does not last long. Makarska has an appointment at ten o'clock with Silva, whom she likes. Having learned that Vassenka bought a ticket for the same time, she refuses to go, and Vasenka's naive persistence indignantly admits that the boy owes her unexpected kindness to his dad. In desperation, Vassenka packs his backpack, and the sensitive Busygin, who had just intended to leave, is again forced to stay.

In the evening, Nina's fiancé pilot Kudimov appears with two bottles of champagne. He is a simple and open guy, good-natured and perceives everything too straightforwardly, which he is even proud of. Busygin and Silva now and then make fun of him, to which he only smiles good-naturedly and offers a drink so as not to waste time. He's short of it, he, a cadet, doesn't want to be late, because he made a promise to himself never to be late, and his own word is law for him. Soon Sarafanov and Nina appear. The whole company drinks for acquaintance. Kudimov suddenly begins to remember where he saw Sarafanov, although Busygin and Nina

they try to prevent him, convincing him that he could not see him anywhere or saw him at the Philharmonic. Nevertheless, the pilot, with his inherent integrity, persists and eventually remembers: he saw Sarafanov at the funeral. Sarafanov bitterly forced to admit this.

Busygin reassures him: people need music both when they are having fun and when they are sad. At this time, Vasenka with a backpack, despite attempts to stop him, leaves his home. Nina's fiancé, despite her persuasion, also rushes away, afraid of being late for the barracks. When he leaves, Nina reproaches the malicious brother that he treated her fiancé badly. In the end, Busygin cannot stand it and admits that he is not Nina's brother at all. Moreover, he seems to be in love with her. Meanwhile, the offended Sarafanov is packing his suitcase to go with his eldest son. Suddenly, Vassenka runs in with a frightened, solemn look, followed by Silva in half-burned clothes, with a face stained with soot, accompanied by Makarska. It turns out that Vasenka set fire to her apartment. The indignant Silva demands pants and, before leaving, vindictively informs at the door that Busygin is not Sarafan's son at all. This makes a great impression on everyone, but Sarafanov firmly declares that he does not believe. He does not want to know anything: Busygin is his son, and, moreover, his beloved. He invites Busygin to move out of the hostel to them, although this meets Nina's objection. Busygin reassures him: he will visit them. And then he discovers that he was late for the train again.

Goals and objectives:

comprehension of the ideological and artistic originality of the play,
further formation of students' ideas about the originality of the dramatic poetics of A. Vampilov,
further formation of the skill of penetration into the subtext of the play, interpretation of the image,
the problem of morality in the play.

Lesson methodology: teacher's word, work with text, analytical conversation, textual analysis of individual scenes, students' expressive reading.

During the classes

Stage 1: the teacher reveals the goals and objectives of the lesson, the formulation of the topic.

Stage 2: work with the title of the play based on previously studied material

"Teaching with a guitar", "Suburb", "Elder son" (1970) Questions for an analytical conversation with a brief commentary:

1. What is the relationship in the titles of the plays?

2. What is the fundamental difference in the titles of the plays?

3. What is the semantic symbolism in the title of the play "Elder Son"?

The name of the play "Elder Son" is the most successful, since the main character - Busygin - fully justified the role of the eldest son taken on. Volodya Busygin helped Sarafanov's children understand how much their father means to them and brings trust, respect, compassion, and warmth into their difficult lives.

Stage 3. Analysis of the play with quotation and expressive reading.

The main and secondary characters of the play. The plot of the play.

The collision of the play.

Sarafanov and his children.

The images of Busygin and Silva in revealing the idea of the play.

The role of minor characters in revealing the idea of the play.

Problems and ideas of the play.

The plot of the play is quite simple: Busygin, a student at the Medical Institute, and Silva, a trade agent, are escorting the girls to the outskirts of the city. Having missed the last train, they are forced to look for lodging for the night.

Busygin. Humans have thick skin and it's not easy to pierce it. It is necessary to lie properly, only then will they believe and sympathize with you. They need to be scared or appeased.

So they end up in the Sarafanovs' house. Open and benevolent Andrei Grigorievich believes in lies and takes Busygin for his eldest son.

In the first act in the second picture, the general mood in the family is cold, without family warmth. Son Vasenka is in love with Makarskaya unrequitedly, daughter Nina wants to leave home with her fiancé to Sakhalin as soon as possible. Sarafanov is lonely in his family, in life. Busygin, who grew up in an orphanage, feels in Andrei Alexandrovich a kind, sincere person. The finale of the play is optimistic, the characters become warmer and wiser. Volodya honestly admits that he is not the son of Sarafanov, besides, he likes Nina. Vasenka no longer seeks to run away from home, and Busygin is drawn to the family of Andrei Alexandrovich. (Students quote from the play).

The play's moral quest unfolds between two theses-slogans - "all people are brothers" and "people have thick skin". Paradoxically, Busygin had the thinnest skin. Once in the naive world of the Sarafanov family, Busygin, playing his role, unwittingly shows the best human qualities.

How do children feel about their father? Compare them.

The conclusions of the teacher and students: children are callous towards their father, sometimes selfish (expressive reading of dialogues, analysis of the episode with the fire). Nina is serious, smart, but wanting to change her life, tired of hopelessness, she is ready to leave her father, brother. But, having fallen in love, it thaws, changes its views on life. (Expressive reading of dialogues)

Compare the image of Busygin and Silva. (work with text)

Conclusions of the teacher and students: Silva tells Busygin: "Here, he says, you have the last twenty rubles, go to the tavern. Get drunk, make a brawl so that I don't see you for a year or two." It is no coincidence that Vampilov initially dramatizes the fate of his heroes. Finding themselves in a difficult situation, the characters manifest themselves in different ways: Busygin reveals his positive character traits throughout the play, which makes him noble, strong, decent. Unlike orphan Volodya, "orphan" Silva is resourceful but cynical. His true face is revealed when he declares that Busygin is not a son, not a brother, but a recidivist. It was important for the playwright to tell readers: each person makes his own choice under any circumstances.

What type of people does Kudimov belong to? (Episode analysis)

The conclusions of the students and the teacher: "He smiles. He smiles a lot. He is good-natured," Vampilov says about him. He represents the "type of right people" who create an atmosphere around them that suffocates all living things in a person. "Although only Kudimov always tells the truth, and all the characters lie due to circumstances, it is surprising in Vampilov's comedy that a lie turns into cordiality, warmth. This dramatic technique allows revealing such depths of personality, spirituality and kindness that they themselves did not suspect.

The role of Makarska and neighbor in the play. (Reading individual quotes)

Conclusions: the playwright considers the theme of loneliness, which can bring a person to despair. Natasha Makarskaya is shown as a decent person and unhappy as a woman. The neighbor appears to the readers as a cautious person "the neighbor moves away silently and timidly", "looks with apprehension and suspicion"

The genre of the play.

The reasoning of the teacher and students: the word comedy can be understood in the Balzacian sense of the word: "human comedy". Comedy is a panorama of life. Vampilov defines the genre of the play as a comedy. But along with the comic, dramatic events develop (Silva, Makarskaya, Sarafanov). A. Demidov called the comedy "The Elder Son" "a kind of philosophical parable." "Unlike family-adventure dramaturgy, which is oriented towards the recognizability of life situations, "The Elder Son" is oriented, so to speak, towards the recognizability of eternal, universal, general drama, everyday situations and problems. The internal structure of the play is, as it were, permeated with themes of world dramaturgy: "(E. Gushchanskaya).

How does Vampilov feel about Silva, Busygin, Sarafanov? (student response)

Problems and ideas of the play.

It was no coincidence that the playwright changed the title of the play "Suburb" to "The Elder Son". The main thing is not where the events take place, but who participates in them. To be able to listen and hear, to understand each other, to show mercy is the main idea of the work of Alexander Vampilov. Critics say that Vampilov created his own original artistic world, a special dramatic poetics. The element of the play is good; an element that gives birth to happy transformations and gains, and not breaks and losses. This is drama that can instill faith in a person. The artistic depth and authenticity of the play are given by a certain conventionality, chance, but the playwright never let anyone doubt the vitality of what was happening, did not violate the logic of events, each subsequent step naturally followed from the previous situation.

A. Rumyantsev in his book "Alexander Vampilov" recalls: "I reproached him for something, and he objected:

You're wrong, old man. You have no reason to say so.

Because I love you.

It sounded funny, sentimental. Shortly after Sanya's death, re-reading his book, I saw that life in the minutes of that conversation continued his play. Yes, Elder Son, last scene.

Sarafanov, having learned that Busygin is not his son, says: "What happened - all this does not change anything, Volodya, come here: (Busygin, Nina, Vasenka, Sarafanov - everything is nearby.) Whatever it is, but "I consider you my son. (To all three of you). You are my children because I love you. Whether I'm good or bad, I love you, and that's the most important thing."

In these words - Vampilov's covenant, left to all of us. “I love people with whom anything can happen,” Sanya wrote in a notebook, that is, secretly, for himself. He could not envy someone because he was more fortunate; more miserable. He saw us for who we are and wanted us to be better. He loved us. And he deserves the same."

Valentin Rasputin owns the words: “It seems that the main question that Vampilov constantly asks is: will you, a man, remain a man? Will you be able to overcome all the false, unkind things that are in store for you in many life trials, where it is difficult to distinguish and opposites - love and betrayal, passion and indifference, sincerity and falsehood, goodness and enslavement: "These questions are answered by A. Vampilov's play" Elder Son ".

It should immediately be noted that a brief retelling (it will contain some analytical observations) of Vampilov's masterpiece is also necessary. We are starting on it.

Failed party for four

There are two zones in this area: the private sector (there are village-type houses) and directly opposite is a small stone house (three floors high) with an arch.

Sevostyanov Semyon (Silva) is refused by a resident of the house opposite. Young people find themselves where they were - on the street.

An unexpected addition to the family

Then Vladimir appears, answers all his father's questions correctly. The house is overwhelmed by general jubilation, and the booze continues, but now Sarafanov Sr. has joined her.

Nina comes out to the noise and demands an explanation. At first, the girl does not trust her older brother, then she also gains confidence in him.

Busygin begins to believe in his own game. character spawn point

Love as a unifying force

Spontaneously emerging love between Vladimir and Nina builds the whole further plot and is the force that unites the Sarafanov family again into a single whole.

Divergence in different spheres of Busygin and Sevostyanov

Appearance of the groom

On the day of cleaning the kitchen, a significant event should take place: Nina plans to introduce her father to her fiancé, a flight school cadet Mikhail Kudimov.

Catharsis

Fed up with the performance on a wave of disappointment from ruined clothes, Semyon pawns Busygin and says that Vladimir is the same son to Sarafanov as he is his niece, and leaves.

A family in a rut

Now that we know the whole story, we can reflect on who the “eldest son” was in this whole story.

Busygin as a savior

The only character in the play who has remained at an absolute loss is Silva, since all the other main characters have formed an inner circle. Only Semyon was excluded from it.

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