The relationship of "fathers and children" is a special page in the history of mankind. And these relationships are often difficult, dramatic. They demand from both generations wisdom, patience, sincere generosity, generosity, love. And paternal feelings sometimes extend not only to their own children, but also to other people who are close in spirit, in fate. This motif sounds in A. Vampilov's play "Elder Son".
This work of criticism was compared with a philosophical parable. The main theme of the play is the theme of home, family, spiritual closeness of people. The main character is a student Busygin. This is a smart, subtle person, a good psychologist. An accidental incident becomes a kind of test of the hero's decency, sensitivity, and his moral guidelines. The plot of Vampilov grows out of an ordinary situation: in a cafe, Busygin meets Semyon Savostyanov, nicknamed Silva. After walking with the girls, they went to see them off and ended up outside the city late in the evening. The last train had already left, they had nowhere to spend the night. And friends decide on an adventure. Once in the apartment of the musician Sarafanov, Busygin pretends to be the eldest son of the owner. He alludes to Sarafanov's casual connection during the war. And the simple-hearted musician accepts him into his own family, without requiring any documentary evidence of this relationship. This situation is very important for clarifying the characters' characters, indicating the complexity of relationships in the Sarafanov family, and representing their life values. As the researchers noted, “Busygin’s and Silva’s intrusion into the world of intimate family relations, unfamiliar to them, does not in itself lead to a conflict - it is important for the playwright rather as a conditional device that allows these two characters to become witnesses of complex intra-family conflicts.”
In the process of developing the action, it turns out that his wife left Sarafanov, his children have grown up, each of them has his own life: daughter Nina is going to get married, dreams of leaving with her husband to Sakhalin, and the youngest, Vasenka, is experiencing unhappy love. The hero was fired from the Philharmonic a long time ago, his career did not take place. In fact, Sarafanov is depicted in a dead end situation. Here the motif of the hero's loneliness arises. At the same time, he is a subtle, sensitive person: he writes music, tries to help his children, gives his "eldest son" a family heirloom - a silver snuffbox.
In the course of the action, the characters of Busygin and Silva are revealed. Savostyanov from the very first scenes appears as a complete cynic. Silva and Kudimov are opposed to all the other characters in the play. Quickly getting used to the new situation, Silva begins to court Nina. At first, Busygin also approaches the position of a new friend. “People have thick skin and it’s not easy to pierce it. You have to lie properly, only then will they believe you and sympathize with you. And already this remark reveals the spiritual inconsistency, ambiguity of the hero - a certain cynicism is combined in him with disappointment in people, with a longing for sympathy and compassion. Having presented the “legend of the eldest son” to Sarafanov, Busygin at first does not think about the possible dramatic consequences of his act. However, he suddenly realizes all the cruelty of what is happening, begins to experience mental discomfort.
Knowing everyone closer, Busygin is imbued with sympathy for this family. And he organically “enters” into it. The spiritual relationship of the characters is indicated in the scene with Nina's fiancé, Kudimov. This hero embodies in the play the martinet's straightforwardness, mechanism, and primitive perception of life. Dismissed from the Philharmonic, Sarafanov plays at dances and funerals. Children, sparing the pride of their father, hide this situation from others, keep silent about it.
Kudimov, on the other hand, notices that he saw Sarafanov in the funeral band, once again reminding the hero of his professional failure. So Vampilov's "love of truth" turns into not only tactlessness, but also cruelty. In the same scene, words are heard that reveal the spiritual essence of Sarafanov: “... 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.
The main idea of the play is the affirmation of the true, spiritual relationship of people, independent of family ties and based on the unity of their moral principles, the unity of their philosophy of life. As the researchers noted, “Vampilov consistently brings the movement of the comically sharpened situation of The Elder Son to the point where it must turn into a dramatic one, but then confidently and easily removes the drama, proceeding not only from the requirements of the chosen genre.” In the final, Busygin confesses his own lies. However, for Sarafanov Sr., this deception does not matter much, so the exposure of the hero leads not to a tragic, but to a happy ending, which is natural within the limits of a lyrical comedy. Busygin's frivolity, his lies are not the result of the hero's immorality, but rather a consequence of his youth and, perhaps, longing for a real family. And he finds this family he dreamed of.
Thus, the spiritual kinship of people is determined not by blood relationship, but by a common worldview, outlook on life, and attitudes towards people.
"Oldest Son"
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 six months, but plays at the dance club for railwaymen. “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 ... "
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.
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 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.
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 over Natasha, 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.
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.
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.
The play "The Elder Son" is announced by A.B. 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 have done little, and even those who have done 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.B. 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.B. 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"
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 six months, but plays at the dance club for railwaymen. “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 ... "
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.
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 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.
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 over Natasha, 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.
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.
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.
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.
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.
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.
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).
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.
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.
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.
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.
Literature lesson in grade 10 based on the play by A.V. Vampilov "Elder Son"
1. Acquaintance with the biography of A.V. Vampilov.
2. Analysis of the play by A.V. Vampilov "Elder Son".
Decor:
Preparatory work:
a) find material related to the biography of Vampilov, read
b) learn the poem by P. Reutsky “Remember me cheerfully”
Alexander Vampilov, cast in bronze, stands in Irkutsk on a low pedestal next to the drama theater. The author of the sculpture, Mikhail Pereyaslavets, did not accidentally place the monument almost on the sidewalk. Every day the Irkutsk people scurry past, and
Vampilov is alive, still young, handsome, as if pouring into this talkative stream. Fate measured out only 35 years for him, and even that was not enough to fully count two days. On Thursday, August 17, 1972, he died on Lake Baikal, not having reached Listvyanka from a dozen meters.
Student: (reading by heart a poem by P. Reutsky “Remember me cheerfully”)
Remember me cheerfully
In a word, the way I was.
What are you, willow, hanging branches,
Or did I not like it?
I don't want to be sad.
I'll go under the wind geek.
Only songs full of sadness
I value all others.
I walked the earth in joy.
I loved her like a god
And no one to me in this smallness
Couldn't refuse...
All mine will stay with me
Both with me and on earth
Someone's heart hurts
In my home village.
Will there be springs, will there be winters,
Sing my song.
Only me, my loved ones,
I won't sleep with you anymore.
What are you, willow, hanging branches,
Or did I not like it?
Remember me cheerfully
In a word, the way I was.
Close friends, and among them the writers Valentin Rasputin, Vyacheslav Shugaev, affectionately called him Sanya.
From this name, the pseudonym A. Sanin was formed, with which the writer signed his first book, "Coincidence of Circumstances."
He reads the beginning of the story: “A chance, a trifle, a combination of circumstances sometimes become the most dramatic moments in a person’s life.” Vampilov developed this idea in his plays.
Student: (continues the story)
Alexander Valentinovich Vampilov Born in 1937 in the village of Kutulik, Irkutsk Region, into a teacher's family. In his youth, N.V. Gogol and V.G. Belinsky, he liked to play quietly on the guitar the melody of the Yakovlevsky romance to the words of A. Delvig "When I had not yet drunk tears from the cup of being ..."
(Romance sounds)
He loved fishing and hunting.
After leaving school, he studied at the Faculty of History and Philology of Irkutsk University, since 1960 he worked in the editorial office of the regional newspaper "Soviet Youth".
He became interested in dramaturgy, began to write plays.
In 1965, A. Vampilov brought to Moscow, to the theater "Sovremennik", and offered O. N. Efremov the play "Hormons with a Guitar", which was then called "Suburb", and in 1972 - "Elder Son".
During the life of A.V. Vampilov, only two plays were staged - "Farewell in June" (1966) and "Elder Son" (1968). "Duck Hunt" (1970), "Provincial Jokes" (1970), "Last Summer in Chulimsk" (1972). These plays saw the light and were staged after the death of the playwright.
“It was cloudy, but dry and quiet, when we carried him in our arms to the theater building, where cars were waiting,” recalled V. Shugaev. “We refused the orchestra, remembering Sasha’s sad grin with which he wrote Sarafanov, the musician from the Elder Son, who plays at the funeral.”
A. V. Vampilov was buried in Irkutsk.
We heard a short story about the life of A. Vampilov. And now…
The teacher announces the topic and purpose of the lesson. Students write in a notebook: Alexander Valentinovich Vampilov (1937-1972).
Remember what is called an epigraph. Notebook entry.
As an epigraph to the words of V.G. Rasputin: "The traditional beginnings of Russian literature are well known, they still remain its continuation: the preaching of kindness, conscientiousness, a heightened sense of truth, truth and hope"
And the young playwright was worried about the problems of morality.
What is morality?
Morality - the rules that determine human behavior; spiritual and spiritual qualities necessary for a person in society, as well as the implementation of these rules, human behavior.
A moral person is a deeply conscientious person.
What is conscience?
Conscience is the ability to distinguish between good and evil, to give a moral assessment of one's actions.
Conscience condemns a person if he acts immorally, contrary to the requirements of conscience.
And now we will talk with you on the issues that were proposed in advance.
(Each student has cards with questions for analyzing the play “Elder Son”)
Word work.
During the conversation, the students remember what the plot is? moralizing? suburb? collisions?
Moral teaching - teaching, suggestion of moral rules.
Suburb - a village directly adjacent to the city, but not included in its line.
Collision. A clash of some opposing forces, interests, aspirations.
During the conversation, the students noted: (1-3 questions)
The plot of the play is simple. Two young men - a student at the medical institute Volodya Busygin and a trade agent nicknamed Silva (Semyon Sevostyanova) - were brought together by chance at a dance. They escort home two girls living on the outskirts of the city and are late for the last train. I had to look for accommodation. The young men call the Sarafanovs' apartment. Here, the resourceful Silva came up with the idea to call Busygin the eldest son of Andrei Grigoryevich, allegedly born to a woman with whom fate accidentally brought the hero at the end of the war. Busygin does not reject this fiction. The entire Sarafanov family takes him for a son and older brother.
The fate of the head of the Sarafanov family did not work out: his wife left, things did not go well at work - he had to leave the position of an actor-musician and earn extra money in an orchestra playing at a funeral. Not all is well with children either. Sarafanov's son Vasenka, a tenth grader, is in love with his neighbor Natasha Makarskaya, who is ten years older than him and treats him like a child. Daughter Nina is going to marry a military pilot, whom she does not love, but considers a worthy couple, and wants to go with him to Sakhalin.
Andrey Grigorievich is lonely and therefore becomes attached to the "eldest son." And the one who grew up in an orphanage is also drawn to the kind, glorious, but unhappy Sarafanov, besides, he also likes Nina. The end of the play is Prosperous. Volodya honestly admits that he is not the son of Sarafanov, Nina does not marry the unloved. Vasenka manages to persuade him not to run away from home. The “eldest son” becomes a frequent guest of this family
4). According to the students, the name of the play “Elder Son” is the most successful, since its main character, Volodya Busygin, fully justified the role he took on. He helped Nina and Vasenka understand how much their father means to them, having raised both of them without a mother who left the family.
5-6) The gentle nature of the head of the Sarafanov family is felt. He takes everything to heart: he is ashamed of his position in front of the children, hides that he left the theater, recognizes the “eldest son”, tries to calm Vasenka, to understand Nina.
The students conclude that he cannot be called a loser, since at the very peak of his mental crisis, Sarafanov survived when others broke down. Sarafanov values his children.
Comparing the elder Sarafanov with Nina and Vasenka, the children noticed that the children were callous towards their father. Vasenka is so carried away by his first love that he does not notice anyone except Makarska. But his feeling is selfish. After all, it is not by chance that in the finale, having become jealous of Natasha for Silva, he sets a fire, not tormented by his conscience for what he has done. There is little truly masculine in the character of this young man - the students come to this conclusion.
In Nina, a smart, beautiful girl, the guys noted practicality, prudence, which manifested itself, for example, in choosing a groom. But these qualities were the main thing in her until she fell in love.
7) Busygin and Silva. Caught in special circumstances manifest themselves in different ways. Volodya Busygin loves people. He is conscientious, responsive to someone else's misfortune, obviously, that's why he acts decently. Silva, like Volodya, is also essentially an orphan: he was brought up by his living parents in a boarding school. Apparently, his father's dislike was reflected in his character. Vampilov did not accidentally make the origins of the fates of the heroes similar. With this, he wanted to emphasize how important a person’s own choice is, independent of circumstances. Unlike the orphan Volodya, the “orphan” Silva is cheerful, resourceful, but cynical. His true face is revealed when he "exposes" Volodya, declaring that he is not a son or brother, but a recidivist.
8) The students noted the "impenetrable soul" of Mikhail Kudimov, Nina's fiancé. There are such people in life, but you will not immediately understand them. He is indifferent to people. This character occupies an insignificant place in the play, however, he is a clearly pronounced type of “right people”, who create an atmosphere around them that suffocates all living things in a person.
9) The author deepens the theme of loneliness in the play, which can bring a person to the brink of despair. (Natasha Makarskaya). In the image of a neighbor, according to the guys, a type of a cautious person, an inhabitant who is afraid of everything, is bred.
10) The problematic and the main idea of the play is to be able to listen, understand each other, support in a difficult moment of life, show mercy. Being kindred in spirit is more than being born.
11) The students noticed that the author does not define the genre of the play. Attributing it to a comedy, many noticed that along with the comic ones, there are many dramatic moments in the play, especially in the subtext of the characters' statements (Sarafanov, Silva, Makarskaya).
Teacher: Summing up the discussion of the play, I turned to the statement of V.G. Rasputin about the dramatic work of Vampilov: “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 that deceitful and unkind that is prepared for you in many life's trials, where it is difficult to distinguish and opposites - love and betrayal, passion and indifference, sincerity and falsehood, goodness and enslavement ... "
Bibliography:
Vampilov A.V. Dramatic heritage. Plays. Editions and versions of different years. Scenes and monologues. - Irkutsk, 2002.
Vampilov A.V. Duck hunting. Plays. - Irkutsk, 1987.
Alexander Vampilov in memoirs and photographs. - Irkutsk, 1999.
A play by A.V. Vampilov "Elder Son". Materials for the lesson of extracurricular reading.//Russian language and literature, No. 3, 1991.-p.62
Biography of A. Vampilov
Alexander Vampilov was born on August 19, 1937 in the regional center of Kutulik, Irkutsk Region, into an ordinary family. His father, Valentin Nikitovich, worked as the director of the Kutulik school (his ancestors were Buryat lamas), his mother, Anastasia Prokopievna, worked there as a head teacher and mathematics teacher (her ancestors were Orthodox priests). Before the birth of Alexander, the family already had three children - Volodya, Misha and Galya.
Valentin Nikitovich never had a chance to raise his son. Literally a few months after his birth, one of the teachers of his own school wrote a denunciation of him to the NKVD. The accusation was serious and did not give the arrested person any chance of survival. The court sentenced him to death, the sentence was carried out in early 1938 near Irkutsk. Only 19 years later, Valentin Vampilov was rehabilitated.
The Vampilov family lived very hard, literally living from bread to water. Even during his lifetime, the relatives of Valentin Nikitovich did not like his Russian wife, and when Vampilov Sr. was gone, they completely turned away from her. Anastasia Prokopievna continued to work at the school, and her salary was barely enough to support herself and her four young children. Sasha Vampilov received his first suit in his life only in 1955, when he finished ten years of high school.
Sasha grew up as a completely ordinary boy, and for a long time his relatives did not distinguish any special talents in him. After graduating from school, Vampilov entered the Faculty of History and Philology of Irkutsk University. Already in his first year, he began to try his hand at writing, writing short comic stories. In 1958, some of them appear on the pages of local periodicals. A year later, Vampilov was enrolled in the staff of the Irkutsk regional newspaper "Soviet Youth" and in the Creative Association of the Young (TOM) under the auspices of the newspaper and the Union of Writers. In 1961, the first (and only during his lifetime) book of Alexander's humorous stories was published. It was called "Coincidence". True, on the cover was not his real name, but a pseudonym - A. Sanin. In 1962, the editors of the "Soviet Youth" decided to send their talented employee Vampilov to Moscow for the Higher Literary Courses of the Central Komsomol School. After studying there for several months, Alexander returns to his homeland and immediately rises one step higher in his career: he is appointed executive secretary of the newspaper. In December of the same year, a creative seminar was held in Maleevka, at which Vampilov presented to the readers two of his one-act comedies: The Crow Grove and One Hundred Rubles with New Money.
In 1964, Vampilov left the Soviet Youth and devoted himself entirely to writing. Soon two collective collections with his stories were published in Irkutsk. A year after this, Vampilov again went to Moscow in the hope of attaching his new play "Farewell in June" to one of the capital's theaters. However, these attempts then ended in vain. In December, he enters the Higher Literary Courses of the Literary Institute. Here, in the winter of 1965, he unexpectedly met playwright Alexei Arbuzov, who was fashionable in those years.
In 1966 Vampilov joined the Writers' Union. Vampilov wrote his first play in 1962 - "Twenty Minutes with an Angel". Then came "Farewell in June", "The case with the meter page", "The Elder Son" and "Duck Hunt" (both 1970), "Last Summer in Chulimsk" (1972) and others. They evoked the warmest responses from those who read them, but not a single theater in Moscow or Leningrad undertook to stage them. Only the provinces welcomed the playwright: by 1970, his play “Farewell in June” was running in eight theaters at once. But the native Irkutsk Youth Theater, which now bears his name, did not stage any of Vampilov's plays during Vampilov's lifetime.
By 1972, the attitude of the capital's theatrical community towards Vampilov's plays began to change. “Last summer in Chulimsk” took the Yermolova Theater for production, “Farewell” - the Stanislavsky Theater. In March, the premiere of "Provincial Anecdotes" takes place in the Leningrad BDT. Even the cinema pays attention to Vampilov: Lenfilm signs a contract with him for the script of Pine Springs. It seemed that luck finally smiled at the talented playwright. He is young, full of creative energy and plans. His personal life with his wife Olga is also going well. And suddenly - a ridiculous death.
On August 17, 1972, two days before his 35th birthday, Vampilov, along with his friends - Gleb Pakulov and Vladimir Zhemchuzhnikov - went on vacation to Lake Baikal.
According to the description of the witnesses of the incident, the boat, in which Vampilov and Pakulov were, caught on a driftwood and turned over. Pakulov grabbed the bottom and began to call for help. And Vampilov decided to swim to the shore. And he got to him, touched the ground with his feet, and at that moment his heart could not stand it.
No sooner had the ground on Vampilov's grave cooled than his posthumous fame began to gain momentum. His books began to be published (only one was published during his lifetime), theaters staged his plays (the Elder Son alone was shown in 44 theaters in the country at once), directors began filming films based on his works at studios. His museum was opened in Kutulik, in Irkutsk the Youth Theater was named after A. Vampilov. A memorial stone appeared at the place of death ...
The play "Elder Son"
A. Vampilov's play "Elder Son" exists in several versions. Vampilov's earliest recordings relating to the play "Elder Son" date back to 1964: the title is "Peace in Sarafanov's House". A version of the play called "Grooms" was published in excerpts on May 20, 1965 in the newspaper "Soviet Youth". In 1967 the play was called "Suburb", published in 1968 in the anthology "Angara". In 1970, Vampilov finalizes the play for the Art publishing house, where it is called The Elder Son and is published as a separate edition.
Note that the name "Elder Son" is the most successful. For the author, the main thing is not where the events take place, but who participates in them. To be able to listen, to understand another, to support in difficult times - this is the main idea of the play. Being related in spirit is more important than blood relationship.
In addition, Volodya Busygin justified the role he had taken on: he helped Nina and Vasenka understand how much their father means to them, who raised both of them without a mother who left the family, and Sarafanov's father, in turn, found support and understanding in the person of Volodya.
Vampilov himself wrote: ... At the very beginning ... (when it seems to him that Sarafanov went to commit adultery) he (Busygin) does not think about meeting him, he avoids this meeting, and when he meets, he does not deceive Sarafanov just like that, out of evil hooliganism, but rather acts like a moralist in a way. Why shouldn't this (father) suffer a little for that one (Busygin's father)? Firstly, having deceived Sarafanov, he is always burdened by this deception, and not only because he is Nina, but also before Sarafanov he has downright remorse. Subsequently, when the position of the imaginary son is replaced by the position of the beloved brother - central situation of the play, Busygin's deceit turns against him, he takes on a new meaning and, in my opinion, looks completely harmless».
The plot of the play "The Elder Son" is born out of chance, out of a strange combination of circumstances. As in no other play by Vampilov, in "The Elder Son" "accidental coincidence" is the engine of the plot. An accident, a trifle, a combination of circumstances become the most dramatic moments in the development of the action of this play. By chance, the heroes meet in a cafe, accidentally find themselves in the suburbs, accidentally overhear Sarafanov's conversation with a neighbor, accidentally learn about the relationship between Vasenka and Makarska, and accidentally find themselves initiated into a family secret. Busygin then himself confesses to Nina: "It all happened quite by accident." Busygin and Silva are little known, in a cafe they did not even catch each other's names and in the course of the play they get to know each other again, but this does not prevent them from understanding each other literally from a half-word.
The poetics of the play retains the main features of Vampilov's dramaturgy: this, as O. Efremov noted, is a craving for an acute form, a non-standard situation, an unused technique; according to V. Rozov - vaudeville and even farcical beginning, rapidly reaching the ultimate dramatic tension; convex everyday materiality, corporality of life, acute plot tension, according to E. Gushanskaya; the combination of philosophical depth with a dazzlingly bright purely theatrical form, according to A. Simukov.
In The Elder Son, the anecdote becomes a genre-forming component - a kind of novelization of the genre takes place. It is the novelistic intrigue that gives the play what the critics almost unanimously call "high mastery of plot construction."
Undoubtedly, the adventurous idea of meeting the Sarafanov family belongs to Busygin, and Silva cowardly warns his friend: “This night will end at the police station. I feel". But the idea to pass off Busygin as the eldest son belongs to Silva. Rhetorical Biblical the figure of "suffering, hungry, cold" brother, standing at the threshold, acquires the features of a real Busygin. Busygin does not immediately accept the role offered to him, he hesitates. The heroes seem to change places: now Silva is ready to stay, and Busygin is in a hurry to leave. However, the cowardice of Silva and Busygin has different roots: if the former is driven by fear of the police, then the latter is driven by fear of conscience.
The naivety, purity, gullibility, “word of mouth” of the father, Nina’s sober skepticism and incredulity, developing into frank sympathy for the imaginary brother, Vasenka’s enthusiasm, the charm and intelligence of Busygin himself, Silva’s assertive impudence thicken, materialize the image of the eldest son. The family faced a situation where he - the eldest son - had to appear and he did.
At the same time, the image of another “eldest son” materializes - Nina's husband, cadet and future officer Kudimov. It is created mainly by Nina and jealously corrected by Busygin. About Kudimov, even before his appearance on stage, we know almost everything. Busygin is in an incomparably more advantageous position: no one knows anything about him, and he tells about himself what he wants to tell. Already in Nina's assessment, Kudimov appears as a rather limited person. The appearance of the hero only confirms this.
The scene of Kudimov's appearance (second act, scene two) is a mirror image of another scene - the appearance of Busygin and Silva in the Sarafanovs' house (first act, scene two): acquaintance, offer to drink, claims to sonship ("Where's papa?" asks Kudimov).
The clash between Busygin and Kudimov is a kind of duel, the reason for which is Nina. But behind this reason are hidden other reasons that lie in the belonging of these people to different spheres of human life and to their different understanding of life itself.
Like a spell, Nina's continuously repeated words addressed to Kudimov, “it doesn’t matter if you are even late today”, “today you will be a little late”, “just like that, you will be late and that’s it”, “today you will be late, I so want”, “no, you will stay”,- not easy "caprice", according to Kudimov, but the last attempt to humanize his fiancé, who is ready to bring the spirit of the barracks and discipline into family life.
Nina talks about Kudimov : “Let’s say he doesn’t have enough stars from the sky, so what? I think it's even better. I don’t need Cicero, I need a husband.” Excellent student of combat and political training Kudimov now, in the future he is capable of "marks of darkness differences" pick up, because he is never late and does not do what he does not see the point in. By keeping Kudimov, Nina keeps herself from falling in love with Busygin. Nina does not have the opportunity to choose, but in the end she makes her choice: "I'm not going anywhere."
If Busygin's phrase “a suffering, hungry, cold brother stands at the threshold ...” the elder brother begins to enter the Sarafanov family, then from Nina's remark addressed to Kudimov: “Enough for you! So you can remember until death!”- the reverse process begins.
The image of the funeral begins to hover invisibly over the Sarafanov family: the head of the family buries his dreams of calling a composer (“I won’t be a serious musician, And I must admit it”); parting with her hopes Nina ( "Yes. Go. And what good, and in fact you will be late ”), sets up a funeral pyre for Vasenka, burning Makarska's carpet and his opponent's pants. But death is ambivalent: it is reborn for the Sarafanov family, Nina finds a new love, Makarskaya's interest in Vasenka flares up.
The image of the funeral of "some kind of driver" - a symbol of an interrupted path, both in life and professional - is ambiguous in the play. The flight school cadet Kudimov leaves, Sevostyanov “disappears”. The last attempt of Silva, who is no longer satisfied with the secondary role, to annoy a successful rival and expose the impostor was belated and unsuccessful: physical kinship ceases to be decisive and significant and gives way to true kinship - spiritual: “You are a real Sarafanov! My son. And besides, a beloved son. In addition, Busygin himself admits : "I am glad that I came to you ... Frankly, I myself no longer believe that I am not your son."
Reasonable and serious Nina, ready to repeat her mother's act and leave with a "serious person", in the play's finale she realizes that she "father's daughter. We are all in dad. We have one character. They, the Sarafanovs, are wonderful people, blessed.
A. Demidov also called the comedy "Elder Son" "a kind of philosophical parable".
Started as an everyday joke, the play gradually develops into a dramatic story, behind which the motifs of the biblical parable of the prodigal son are guessed.
At the same time, the well-known biblical parable undergoes a certain transformation: the prodigal "son" returns to the house from which he never left; Sarafanov's "prodigal" children return to the house they never left. They stay at the House to restore it.
This play is a kind of philosophical parable about the kinship of souls and the acquisition of a native shelter. A new person appears in the Sarafanov family, introducing himself as the “eldest son” of the head of the family. In the whirlwind of family troubles and problems, Busygin really begins to feel at home in the Sarafanovs' house and responsible for their lives.
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, from a private everyday history, the play rises to universal humanistic problems (trust, mutual understanding, kindness and responsibility). And the paradox is that people become relatives, they begin to feel responsible for each other only by a lucky chance. The play shows the moral essence of the eldest son - everything is on his shoulders: hope, the future of the family. And Busygin revived the family.
Literature
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.
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.
Very soulful and lyrical, the writer managed to describe his hero to readers. The story shows the image of an ordinary intellectual of that time. From the story we see that these are not ordinary people, this is a special class of the population.
Basically, the situation is simple. Beloved Chatsky (Sofya), almost jokingly, but a little and with anger, since he is already tired of her (and everyone around) with his behavior, says that he has gone crazy
The comedy play "Woe from Wit" by Alexander Sergeevich Griboyedov has multiple stylistic features, the main of which is the verse form.
War and people is one of the main themes of Leo Tolstoy's work "War and Peace". The writer hated war in all its manifestations. But wars are aggressive, and there are liberation
Vampilov's work "The Elder Son" is one of the outstanding plays of Russian dramaturgy. The author tells the viewer the fate of a typical loser who, despite all the failure of his life, remains an honest and conscientious person. A bright soul and an unclouded mind attract a large number of people to Sarafanov, one of whom is the second protagonist of the play, Vladimir Busygin.
The plot of the work is based on two characters - Sarafanov and Busygin. They are separated from each other by a big difference in age, but, despite this, both heroes have a certain attraction to each other, they are, as they say, kindred spirits. Sarafanov is a man so pure and immaculate that no one fails to notice his strange attraction, his honesty towards himself and the people around him.
The hero truly loves absolutely all people, trustingly looks into the eyes of everyone who is honored to speak with him. It is because of this “bliss” that Sarafanov is abandoned by his wife, who later finds herself a man, as they say, serious. And it is difficult to condemn her for this, because such people cause surprise and distrust in everyone, they say, it is impossible to live in this world and be such a kind and honest person. You can't live like that. But then why don't the children leave him? Moreover, not only their own, but also others? Maybe because only children, thanks to their purity, can look into the very essence of the person in front of them? Each of us, for sure, met with such "strange" people who do not demand anything from anyone, live hand in hand with their conscience and do not wish harm to anyone. And let's remember how society treats them? Distrustfully, with surprise, contempt, and sometimes even with undisguised malice.
An inattentive reader might think that Busygin, in relations with Sarafanov, is driven only by sympathy for Nina, but, scrolling through the book further, we understand that this is not entirely true. It is Sarafanov himself who becomes the decisive role, who, with his attitude to life, spiritual purity and the complete absence of any malice, attracts Vladimir Busygin. Busygin, being "fatherless", suddenly encounters an unknown and incomprehensible state. It turns out that there are people in the world who, under no circumstances, should be lost and abandoned. Because they love you.
Many, one way or another, openly call Sarafanov "blessed", but it is thanks to him and his irrepressible faith that everyone begins to think about the hero and try to help him. This faith becomes a powerful impetus to unite children around their unfortunate father.
Just one day spent in the Sarafanov family allows Busygin to think deeply. He receives a wonderful moral lesson and, in the end, finds the family he dreamed of for many years. In just one day, he finds people close to his heart and soul.
Vampilov wrote a huge number of different works, but the most popular and interesting is "The Elder Son".
Everything happens in one city where two young people live. One guy's name is Vladimir, and the second guy's name is Semyon. They want to quickly find their soul mate, but until this happens, they can calmly and easily enjoy freedom. And today they got a card to escort beautiful girls home, and there, maybe, something else will fall out to them. And they very much hope so. But the girls are not quite as accessible as it might seem to the guys, and they didn’t need anything more than to walk them home. It turns out that the girls lived outside the city and get there very far. When they got to the girls' house, they said goodbye to them and went home, and the guys stayed outside in the cold and now they can't get home, but that's all, because the last bus has already left.
The guys here do not know anyone, and around them there are two multi-storey buildings and several small houses. And then they have only one way out, which is to seek shelter from one of these residents. But not every person will accept strange guys into his house. They would very much like to ask someone to spend the night, but no one agreed.
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And the guys were already desperate to find a place to sleep, but suddenly they saw how an elderly man was not going to his house, but to the apartment where their teacher lived and was trying to get through to her. More than anything, he likes to play different tunes. But most often they have to be played at funerals. The guys think that this man is trying to get into her house in different ways in order to win her heart later, because it is still free. And in order to find out all this, they decide to get to her apartment by any means.
From the very beginning, the guys seem stupid and even frivolous to readers. They don't care what's going on in the world. But as the story progresses, the characters develop in a different way, and their minds begin to think in a different way.
Meanwhile, the apartment of this very elderly man remains open and the guys do not miss the opportunity to slip there. Although there were people there, but each of them goes about their own business and they just don’t care about new and uninvited guests. It turns out that this man has a beloved and only daughter named Nina, who has already found her love and tomorrow she will leave to live with her beloved in Sakhalin.
At first glance, you might think that the work is written in the form of a comedy, but when you start to get a grasp of the plot, it turns out that everything is different.
More than seventy years ago, the last battles of the Second World War died down, and we live under a peaceful sky in a free country.
The work tells about one non-standard and amazing Flower City. Only small people lived there. Their growth could be compared to a small cucumber. For such growth, these little men were called shorties.
Eurystheus ordered Hercules to bring three golden apples from the gardens of the titan Atlas. Those apples grew on a golden tree and were guarded by the dragon and the daughters of Atlas - the Hesperides.
The work of the Russian writer Chekhov is mainly a combination of some kind, sad humor and human stupidity, and sometimes a light note of tragedy. All works embody the problems of humanity, ordinary people in everyday life.
The work, presented in the genre of a story, tells about the historical events of the second half of the 17th century during the struggle of the Zaporizhzhya Cossacks against foreign invaders.
1. The history of the creation of the work.
The play "Elder Son" has a rich creative background. The work of A.V. Vampilov has several editions. The first version of the play, called "Peace in the House of Sarafanov", was published in 1964. The second version - "Grooms" - was published by the newspaper "Soviet Youth" in 1965. The next version was released in 1968 by the Angara almanac and was entitled Suburb. Only in 1970 did the writer finalize the work, call him "The Elder Son" and release it as a separate edition.
A play by A.V. Vampilov's "Elder Son" is in some ways a continuation of the problems of the play "Farewell in June".
2. The genre of the work. Signs of the genre (genres).
A.V. himself Vampilov calls his play a comedy. The anecdote becomes a genre-forming component, which contributes to the novelization of the genre. However, it is worth noting that only the first plot pictures are subjected to comedic specificity. The play gradually develops into a philosophical story or a parable, where biblical motifs about the prodigal son appear. Moreover, the parable in the work "The Elder Son" is transformed.
3. The title of the work and its meaning.
As noted, the names of the play by A.V. Vampilov was enough, but it is the “Elder Son” that is the most successful, since this title conveys the main idea of the work. For the writer, it was not the place of action that was important, but the participants in the events. Busygin appears as the eldest son, who ends up in the house of the Sarafanov family. In the finale of the work, Busygin, who pretended to be the son of Sarafanov, actually accepts all the duties of his son and feels like a kindred person in the house.
4. From whose face is the story being told? Why?
The narration in accordance with the generic affiliation is carried out with the help of characters' replicas.
5. Theme and idea of the work. Issues.
The main idea that permeates the play "Elder Son" is that spiritual closeness is more important than blood relationship. The kinship of souls is much stronger and stronger than official family relations. The ability to listen and understand, help and support, and most importantly, love - these are the main components of family relationships.
A.V. Vampilov raises the eternal universal problems of goodness, conscience, and justice. Here the writer raises the problem of truth and lies. The play destroys the notion that "bitter truth" is better than "sweet lies".
In addition to moral issues, family issues are also raised. So, the theme of fathers and children is connected with this, which is considered unconventionally. The writer raises family problems, which are considered not in the context of official relations, but in the context of the kinship of souls.
6. The plot (story lines) of the work. Conflict. key episodes.
The plot of the play is distinguished by its spontaneity. It is born from various accidents that bring strangers to one place. Coincidences are the main engine of the whole plot, and coincidences are the climactic events of the play "The Elder Son".
The fate of Sarafanov becomes the main one in the story. It is she who is the author's ideal, since the hero is a man of honor and conscience. This is the reason that Busygin cannot part with Sarafanov. At first pragmatic, the hero understands that the "father" is a good person.
7. The system of images of the work.
In The Elder Son, two central images stand out: Sarafagin and Busygin. Between them there is a kinship of souls, the ability to understand each other.
Busygin is first presented in the narrative as a cheeky young man.
Sarafanov is a person who does not know how to pretend, he is always honest and sincere. It is he who contributes to the transformation of Busygin. The hero opens up in a whole new way. A person not only calls himself the son of Sarafanov, but also becomes one. Busygin finds a man whom he can call his father. He realizes that he doesn't want to leave his family's home.
8. Composition of the work.
The Sarafanovs' house becomes the main scene of action. The action of the play "Elder Son" takes three days. During this time, the heroes had to go through a lot, but all the events were closely intertwined with the Sarafanov family nest. His house seems to be holding Busygin and his friend, stopping and not letting go. At the end of the work, it generally seems to the reader that Busygin is the real son of Sarafanov, since there are really a lot of coincidences.
9. Artistic means, techniques that reveal the idea of the work.
A feature of the play by A.V. Vampilov is plot tension. Moral problems are connected with universal and eternal questions. When characterizing Busygin, the author uses a psychologization technique that allows the hero to evolve.
10. Review of the product.
“Elder Son” is a play that makes you think about harmony between people. A close person can be considered not only relatives, but also those who are close in moral values.
Quote: “Whoever says anything, but life is always smarter than all of us, living and wise».
This plot interested Vampilov from an early age. The playwright made sketches, but came to the final plot only in the second half of the 1960s.
Issues:
Name meaning: the protagonist of the play, Volodya Busygin, who almost accidentally pretended to be a descendant of the Sarafanovs, at the end of the play actually takes over all the functions of the eldest son and takes care of every member of the family.
Literary direction: realism.
Literary genre: comedy, drama.
Genre features:"The Elder Son" combines the features of the comic and the tragic, which allows us to talk about the very special genre nature of this work. The philosophical "play of life" combines the funny and the sad as naturally as life itself.
Time and place of action: The action of the play takes place in a small village, the time of action is the mid-1960s.
Volodya Busygin and his friend Silva saw the girls off and missed the train. They enter the first house they come across (it belongs to the Sarafanovs). Approaching the house, the guys saw the owner of the house and heard him call his name, so they can tell who they came to.
Before the visit of Busygin and Silva, there was a quarrel in the house: Vasenka, who was refused by his beloved, wants to leave home. His sister Nina is against it: she herself plans to get married and leave, and if Vasya leaves his home, then his father will be left alone.
To prevent the guys from being kicked out immediately, Silva tells Vasenka an utter story: they say that Volodya Busygin is Sarafanov's illegitimate eldest son, Vasenka's brother.
Vasenka is dumbfounded. Sarafanov, who came, asks all sorts of questions, but the answers confirm Andrei Grigoryevich's fears: this guy could really be his son. Nina wakes up and also tries to bring Busygin to clean water, but all the answers indicate that the story he told is true.
Sarafanov sincerely and sincerely talks with Busygin, asks to influence the lover Vasenka. Andrei Grigoryevich is very glad that he has a son, because his daughter Nina is getting married and leaving. Then everyone goes to bed.
The next morning, Busygin wakes up Silva and wants to leave as soon as possible. But Andrey Grigorievich appears. He is very upset that his son is leaving, and wants to give Volodya a gift. While Sarafanov goes to get a gift, Nina wakes up and attracts the attention of Volodya Busygin. Volodya thinks how beautiful Nina is, and then Sarafanov brings him a silver snuffbox, saying that this little thing always belongs to the eldest son of the Sarafanov family. Busygin says that he will stay for one more day. Everyone is happy about this. Volodya and Nina clean the house and talk about Nina's fiancé (Volodya no longer likes him, although they have not met yet).
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Natalya Makarskaya speaks to Vassenka and sends him to fetch movie tickets. As soon as Vasenka leaves, Silva appears and begins courting Makarska.
At this time, Nina tells Busygin about her father: Andrei Grigorievich was fired from the Philharmonic, now he plays at the funeral, but hides this from the children, and Nina and Vasya pretend that they know nothing. Joyful Vasenka enters, he bought tickets to the cinema.
Makarskaya undertakes to sew a button on Vasenka, but flatly refuses to go to the cinema. Vasya guesses that Makarska has a date. Annoyed by his obtrusiveness, Natalya says that she only talks to Vasenka out of pity for Andrei Grigoryevich. The young man runs away: he wants to leave the house again, but then he just locks himself in his room and does not talk to anyone.
The Sarafanov family is visited by Nina's fiancé Mikhail Kudimov. Busygin categorically dislikes him: he is too indifferent, behaves like a master. Kudimov is never late, so he does not intend to wait for Andrei Sarafanov. But Sarafanov still comes. Kudimov stares at Sarafanov, trying to remember where he saw him, and finally remembers happily: at the funeral! Andrei Grigorievich played music at the funeral. Everyone is trying to convince Kudimov that he was wrong. Sarafanov is upset. And then Vasenka leaves the house again. Silva is also going - "on business."
Nina asks Kudimov for forgiveness for her brother's behavior and insists that Mikhail stay, but he is indifferent to everything: it's time for him to go to the barracks. Sarafanov is completely upset and shouts that he will leave now. Volodya Busygin unexpectedly says that he will not leave his father and, if necessary, will live with him.
Later, Busygin talks with Nina in private. The girl decided not to go anywhere: you can’t leave her father. Busygin confesses that he is not Nina's brother, and says that he loves her. Nina is very angry. Then Andrey Grigoryevich comes with a new idea: he will go to Chernigov, Busygin's hometown, and marry his mother in order to restore his family. Immediately after this, Vasenka comes running: he realized that a man had come to Makarska and set fire to the house of his unfaithful lover. Silva appears in burnt pants: of course, he was the same lover of Makarska. Natalya Makarskaya herself follows him.
Busygin is very angry with Silva and wants to kick him out. Then Silva reveals Busygin's secret: he is not Sarafanov's son at all. Andrey Grigoryevich hears, but does not want to admit. He insists: be that as it may, Volodya Busygin is his son. Sarafanov asks Volodya to live with them. Busygin is confused, touched, in love and promises to come every day, but today he was again late for the train.
"The Elder Son" (USSR, 1976, Andrei Sarafanov - Evgeny Leonov, Volodya Busygin - Nikolai Karachentsev, Silva - Mikhail Boyarsky).
What is the commonality of the images of Andrei Sarafanov and Volodya Busygin?
Answer. Both the first and the second are characterized by humanity, a reverent attitude towards one's neighbor, towards the family.
What did Andrey Grigoryevich Sarafanov want to give to his "eldest son" Volodya Busygin?
Answer. Silver snuffbox.
The first chapter begins with the sales agent Semyon named Silva and the future doctor Vladimir Busygin meet the girls they like. They escort the beauties to the house, counting on their further hospitality, but in the end they are left with nothing. Suddenly, the guys discover that their train has already left. It's dark and cold outside. They understand that they will have to seek shelter in a strange area. The guys hardly know each other, but misfortune brings them together. In addition, both have a sense of humor. They do not despair and decide to use every opportunity to warm up.
They knock on the house of Makarskaya, a lonely thirty-year-old girl who some time ago drove away a high school student Vasenka, who was in love with her with all her heart. The guys suffer the same fate.
The guys have no idea what to do next. Suddenly they see a middle-aged man calling out to the girl. Apparently, this is a neighbor of Makarska. He introduces himself as Andrei Sarafanov, the son of Grigory. They assume that this is a romantic date and want to warm up a bit in the man's house while he is visiting his neighbor. When they get to his apartment, they find Vasenka there.
It turns out that this is the son of Sarafanov. The guy suffers from unrequited love. Busygin pretends to be an acquaintance of Andrei Grigorievich. Vasenka does not believe him, but the man still convinces him that he is telling the pure truth. He says that all people are brothers, and it is important to be able to trust each other.
Silva misunderstands his friend, he thinks that he wants to play the boy, introducing himself as the son of Andrei Grigorievich. He plays along with a friend. Busygin is shocked, because he was not going to play such a performance. Now Vasenka thinks that this is his older brother, who decided to find his father. Semyon wants to develop success and invites the deceived guy to drink on the occasion of finding a brother - to find something from alcohol in the bins at home and celebrate this wonderful meeting.
While they are resting in the kitchen, the elder Sarafanov returns. In fact, he went to a neighbor to ask for Vasenka, who was suffering from an unrequited love feeling. The drunken son tells him the incredible news. The man is lost, at first he does not believe, but then, remembering the past years, he nevertheless admits that this may be true. After all, the war had just ended, and he "was a soldier, not a vegetarian." Sarafanov tells the name of the one from whom he could have a son. According to his calculations, the offspring should now be 21 years old.
Busygin hears all this, now he is even more confident in himself. The head of the family asks more and more questions to the newborn son. Now he is sure that this is really his native blood. He believes that the son found his father because he loves him, and a man needs such affection now, because:
The man left the symphony orchestra and now plays in funeral processions and dances, which he thinks his children do not know. In fact, they are aware of what is happening, they just do not show it. Vladimir does an excellent job with his role. Even Nina, Sarafanov's grown-up daughter, believes his words.
All night Andrei Grigoryevich and his newly-born son talk heart to heart. A man tells a guy about his difficult life, talking about the secret. His wife left him, because she did not like that he devoted too much time to playing the clarinet. However, despite this, Sarafanov is still proud of himself, because he did not allow himself to dissolve in the bustle and continued to write music.
When morning comes, Silva and Busygin try to sneak out of the house, wanting to remain unnoticed, however, they run into the older Sarafanov. When he learns about the departure of the guys, he is very upset. In memory of himself, he gives his "son" a silver snuffbox. He explains that this little thing in their family has always belonged to the eldest son. Busygin is moved, he wants to stay for one more day. He and Nina are cleaning the house. A strange relationship develops between them. Their mutual sympathy and interest in each other clearly does not fit into the framework of family relations.
Vladimir asks Nina to tell him about the man she is going to marry. Involuntarily, he releases jealous barbs at the groom. Nina is offended, there is a small quarrel. After a while, the girl will also be jealous of Busygin for a neighbor.
The guy reproaches Nina that she intends to leave her father alone. They also talk about Vasenka, who constantly wants to run away from home, because he believes that no one needs him here.
At this time, the schoolboy himself is going to go to the cinema with his beloved, after the visit of Andrei Grigoryevich, she agreed to keep Vasenka company. Now the guy is not going to leave his father's house, but soon his joy disappears, because at 10 o'clock Makarskaya is going to go on a date with Semyon she likes.
When the girl becomes aware that the film starts at the same time, she refuses Vasenka. The guy is unhappy, he tries to convince his beloved, but this only angers her. She admits that she agreed to go to the cinema only at the request of Sarafanov. The guy is in despair, he collects things, and Busygin, who was just about to leave, again has to stay.
In the evening, Nina's fiancé comes, he brings a drink with him. This is a pilot named Kudimov, an ordinary guy who perceives everything too straightforwardly and is proud of it. Silva and Vladimir tease him all the time. In response, he only smiles and offers a drink, not wanting to waste time. He promised himself never to be late, and the word for him is the law. After a while, Nina and Andrei Grigorievich also join. Everyone drinks to get to know each other.
Nina's fiancé is trying to remember where he could have seen Sarafanov before, his beloved is trying to stop him, assuring him that he definitely could not meet her father anywhere, except for the Philharmonic. However, the guy is principled and stubborn, he still remembers that noticed Andrei Grigorievich at the funeral. A man has to tell the truth about his work.
Vladimir tries to calm him down, he says that people need music not only during fun, but also in grief. Vasenka, meanwhile, leaves the house, despite attempts to stop him. Kudimov also wants to leave, he may be late for the barracks. Nina reproaches Vladimir for treating her fiancé badly. In the end, the guy confesses to her that he is not who he claims to be. He tells that he is not Nina's brother, and, moreover, he loves her. At this time, the offended Andrei Grigorievich is packing his suitcase, wanting to go with Vladimir.
