Paustovsky precious dust read summary. “You should always strive for beauty” by O de Balzac (Based on the work of K

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Golden Rose 1955 Summary of the story Readable in 15 minutes original - 6 hours Precious dust Scavenger Jean Chamet cleans up craft workshops in a Parisian suburb. While serving as a soldier during the Mexican War, Shamet contracted a fever and was sent home. The regimental commander instructed Shamet to take his eight-year-old daughter Suzanne to France. All the way, Shamet took care of the girl, and Suzanne willingly listened to his stories about the golden rose that brings happiness. One day, Shamet meets a young woman whom he recognizes as Suzanne. Crying, she tells Shamet that her lover cheated on her, and now she has no home. Suzanne moves in with Shamet. Five days later she makes peace with her lover and leaves. After breaking up with Suzanne, Shamet stops throwing away rubbish from jewelry workshops, in which a little gold dust always remains. He builds a small winnowing fan and winnows the jewelry dust. Shamet gives the gold mined over many days to a jeweler to make a golden rose. Rose is ready, but Shamet finds out that Suzanne has left for America, and her trace has been lost. He quits his job and gets sick. Nobody takes care of him. Only the jeweler who made the rose visits him. Soon Shamet dies. The jeweler sells a rose to an elderly writer and tells him the story of Shamet. The rose appears to the writer as a prototype of creative activity, in which, “like from these precious specks of dust, a living stream of literature is born.” Inscription on a boulder Paustovsky lives in a small house on the Riga seaside. Nearby lies a large granite boulder with the inscription “In memory of all who died and will die at sea.” Paustovsky considers this inscription a good epigraph for a book about writing. Writing is a calling. The writer strives to convey to people the thoughts and feelings that concern him. At the behest of the call of his time and people, a writer can become a hero and endure difficult trials. An example of this is the fate of the Dutch writer Eduard Dekker, known under the pseudonym “Multatuli” (Latin for “long-suffering”). Serving as a government official on the island of Java, he defended the Javanese and took their side when they rebelled. Multatuli died without receiving justice. The artist Vincent Van Gogh was equally selflessly devoted to his work. He was not a fighter, but he contributed his paintings glorifying the earth to the treasury of the future. Flowers from shavings The greatest gift remaining to us from childhood is a poetic perception of life. A person who has retained this gift becomes a poet or writer. During his poor and bitter youth, Paustovsky writes poetry, but soon realizes that his poems are tinsel, flowers made from painted shavings, and instead writes his first story. First story Paustovsky learns this story from a resident of Chernobyl. The Jew Yoska falls in love with the beautiful Christa. The girl loves him too - small, red-haired, with a squeaky voice. Khristya moves into Yoska’s house and lives with him as his wife. The town begins to worry - a Jew lives with an Orthodox woman. Yoska decides to be baptized, but Father Mikhail refuses him. Yoska leaves, cursing the priest. Upon learning of Yoska's decision, the rabbi curses his family. For insulting a priest, Yoska goes to prison. Christia dies of grief. The police officer releases Yoska, but he loses his mind and becomes a beggar. Returning to Kyiv, Paustovsky writes his first story about this, in the spring he rereads it and understands that the author’s admiration for Christ’s love is not felt in it. Paustovsky believes that his stock of everyday observations is very poor. He gives up writing and wanders around Russia for ten years, changing professions and communicating with a variety of people. Lightning The idea is lightning. It arises in the imagination, saturated with thoughts, feelings, and memory. For a plan to appear, we need a push, which can be everything happening around us. The embodiment of the plan is a downpour. The idea is to develop

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1. The book “Golden Rose” is a book about writing.
2. Suzanne's faith in the dream of a beautiful rose.
3. Second meeting with the girl.
4. Shamet’s impulse to beauty.

The book by K. G. Paustovsky “Golden Rose” is dedicated, by his own admission, to writing. That is, that painstaking work of separating everything superfluous and unnecessary from truly important things, which is characteristic of any talented master of the pen.

The main character of the story “Precious Dust” is compared with a writer who also has to overcome many obstacles and difficulties before he can present to the world his golden rose, his work that touches the souls and hearts of people. In the not entirely attractive image of the garbage man Jean Chamet, a wonderful person suddenly appears, a hard worker, ready to turn over mountains of garbage to obtain the smallest gold dust for the sake of the happiness of a creature dear to him. This is what fills the life of the main character with meaning; he is not afraid of daily hard work, ridicule and neglect of others. The main thing is to bring joy to the girl who once settled in his heart.

The story "Precious Dust" took place on the outskirts of Paris. Jean Chamet, decommissioned for health reasons, was returning from the army. On the way, he had to take the daughter of the regimental commander, an eight-year-old girl, to her relatives. On the road, Suzanne, who lost her mother early, was silent the entire time. Shamet never saw a smile on her sad face. Then the soldier decided that it was his duty to somehow cheer up the girl, to make her journey more exciting. He immediately dismissed dice games and crude barracks songs - this was not suitable for a child. Jean began to tell her his life.

At first, his stories were unpretentious, but Suzanne greedily caught more and more details and even often asked to tell them to her again. Soon, Shamet himself could no longer accurately determine where the truth ends and other people’s memories begin. Outlandish stories emerged from the corners of his memory. So he remembered amazing story about a golden rose, cast from blackened gold and suspended from a crucifix in the house of an old fisherman. According to legend, this rose was given to a beloved and was sure to bring happiness to the owner. Selling or exchanging this gift was considered a great sin. Shamet himself saw a similar rose in the house of a poor old fisherman who, despite her unenviable position, never wanted to part with the decoration. The old woman, according to rumors that reached the soldier, still waited for her happiness. Her son, an artist, came to her from the city, and the old fisherman’s shack “was filled with noise and prosperity.” The story of the fellow traveler made a strong impression on the girl. Suzanne even asked the soldier if anyone would give her such a rose. Jean replied that maybe there would be such an eccentric for the girl. Shamet himself did not yet realize how strongly he became attached to the child. However, after he handed the girl over to the tall “woman with pursed yellow lips,” he remembered Suzanne for a long time and even carefully kept her blue crumpled ribbon, gently, as it seemed to the soldier, smelling of violets.

Life decreed that after long ordeals, Shamet became a Parisian garbage collector. From now on, the smell of dust and garbage heaps followed him everywhere. Monotonous days merged into one. Only rare memories of the girl brought joy to Jean. He knew that Suzanne had long since grown up, that her father had died from his wounds. The scavenger blamed himself for parting with the child too dryly. The former soldier even wanted to visit the girl several times, but he always postponed his trip until time was lost. Nevertheless, the girl’s ribbon was just as carefully kept in Shamet’s things.

Fate presented a gift to Jean - he met Suzanne and even, perhaps, warned her against the fatal step when the girl, having quarreled with her lover, stood at the parapet, looking into the Seine. The scavenger took in the grown-up blue ribbon winner. Suzanne spent five whole days with Shamet. Probably for the first time in his life the scavenger was truly happy. Even the sun over Paris rose differently for him than before. And like the sun, Jean reached out to the beautiful girl with all his soul. His life suddenly took on a completely different meaning.

Actively participating in the life of his guest, helping her reconcile with her lover, Shamet felt completely new strength in himself. That is why, after Suzanne mentioned the golden rose during farewell, the garbage man firmly decided to please the girl or even make her happy by giving it to her. gold decoration. Left alone again, Jean began to attack. From now on, he did not throw out garbage from jewelry workshops, but secretly took it to a shack, where he sifted out the smallest grains of golden sand from garbage dust. He dreamed of making an ingot from sand and forging a small golden rose, which, perhaps, would serve for the happiness of many ordinary people. It took the scavenger a lot of work before he was able to get the gold bar, but Shamet was in no hurry to forge a golden rose from it. He suddenly began to be afraid of meeting Suzanne: “...who needs the tenderness of an old freak.” The scavenger understood perfectly well that he had long become a scarecrow for ordinary townspeople: “... the only desire of the people who met him was to quickly leave and forget his skinny, gray face with sagging skin and piercing eyes.” The fear of being rejected by a girl forced Shamet, almost for the first time in his life, to pay attention to his appearance, to the impression he made on others. Nevertheless, the garbage man ordered a piece of jewelry for Suzanne from the jeweler. However, severe disappointment awaited him: the girl left for America, and no one knew her address. Despite the fact that at the first moment Shamet was relieved, the bad news turned the unfortunate man’s whole life upside down: “...the expectation of a gentle and easy meeting with Suzanne inexplicably turned into a rusty iron fragment... this prickly fragment stuck in Shamet’s chest, near his heart " The scavenger had no reason to live anymore, so he prayed to God to quickly take him to himself. Disappointment and despair consumed Jean so much that he even stopped working and “lay in his shack for several days, turning his face to the wall.” Only the jeweler who forged the jewelry visited him, but did not bring him any medicine. When the old scavenger died, his only visitor pulled from under his pillow a golden rose wrapped in a blue ribbon that smelled like mice. Death transformed Shamet: “... it (his face) became stern and calm,” and “... the bitterness of this face seemed even beautiful to the jeweler.” Subsequently, the golden rose ended up with a writer who, inspired by the jeweler’s story about an old scavenger, not only bought the rose from him, but also immortalized the name of the former soldier of the 27th colonial regiment, Jean-Ernest Chamet, in his works.

In his notes, the writer said that Shamet’s golden rose “seems to be a prototype of our creative activity.” How many precious specks of dust does a master have to collect in order for a “living stream of literature” to be born from them? And creative people are driven to this, first of all, by the desire for beauty, the desire to reflect and capture not only sorrowful, but also the brightest, most good points surrounding life. It is the beautiful that can transform human existence, reconcile it with injustice, and fill it with a completely different meaning and content.

To my devoted friend Tatyana Alekseevna Paustovskaya

Literature has been removed from the laws of decay. She alone does not recognize death.

Saltykov-Shchedrin

You should always strive for beauty.

Honore Balzac

Much in this work is expressed fragmentarily and, perhaps, not clearly enough.

Much will be considered controversial.

This book is not a theoretical study, much less a guide. These are simply notes on my understanding of writing and my experiences.

Important issues of the ideological basis of our writing are not touched upon in the book, since in this area we do not have any significant disagreements. The heroic and educational significance of literature is clear to everyone.

In this book I have told so far only the little that I have managed to tell.

But if I managed to convey to the reader, even to a small extent, an idea of the beautiful essence of writing, then I will consider that I have fulfilled my duty to literature.

Precious Dust

I can't remember how I came across this story about the Parisian garbage man Jeanne Chamet. Shamet made a living by cleaning the workshops of artisans in his neighborhood.

Shamet lived in a shack on the outskirts of the city. Of course, it would be possible to describe this outskirts in detail and thereby lead the reader away from the main thread of the story. But perhaps it’s only worth mentioning that the old ramparts are still preserved on the outskirts of Paris. At the time when this story took place, the ramparts were still covered with thickets of honeysuckle and hawthorn, and birds nested in them.

The scavenger's shack was nestled at the foot of the northern ramparts, next to the houses of tinsmiths, shoemakers, cigarette butt collectors and beggars.

If Maupassant had become interested in the life of the inhabitants of these shacks, he would probably have written several more excellent stories. Perhaps they would have added new laurels to his established fame.

Unfortunately, no outsiders looked into these places except the detectives. And even those appeared only in cases where they were looking for stolen things.

Judging by the fact that the neighbors nicknamed Shamet “Woodpecker,” one must think that he was thin, had a sharp nose, and from under his hat he always had a tuft of hair sticking out, like the crest of a bird.

Once upon a time Jean Chamet knew better days. He served as a soldier in the army of "Little Napoleon" during the Mexican War.

Shamet was lucky. At Vera Cruz he fell ill with a severe fever. The sick soldier, who had not yet been in a single real firefight, was sent back to his homeland. The regimental commander took advantage of this and instructed Shamet to take his daughter Suzanne, an eight-year-old girl, to France.

The commander was a widower and therefore was forced to take the girl with him everywhere. But this time he decided to part with his daughter and send her to her sister in Rouen. Mexico's climate was deadly for European children. Moreover, the chaotic guerrilla warfare created many sudden dangers.

During Chamet's return to France, the Atlantic Ocean was smoking hot. The girl was silent the whole time. She even looked at the fish flying out of the oily water without smiling.

Shamet took care of Suzanne as best he could. He understood, of course, that she expected from him not only care, but also affection. What kind of gentle soldier could he come up with from a colonial regiment? What could he do to keep her busy? A game of dice? Or rough barracks songs?

But it was still impossible to remain silent for long. Shamet increasingly caught the girl’s perplexed gaze. Then he finally made up his mind and began awkwardly telling her his life, remembering in the smallest detail the fishing village on the English Channel, quick sand, puddles after low tide, a village chapel with a cracked bell, his mother treating her neighbors for heartburn.

In these memories, Shamet could not find anything to cheer up Suzanne. But the girl, to his surprise, listened to these stories greedily and even forced him to repeat them, demanding more and more details.

Shamet strained his memory and extracted these details from it, until in the end he lost confidence that they really existed. These were no longer memories, but their faint shadows. They melted away like wisps of fog. Shamet, however, never imagined that he would need to recapture this long-gone time in his life.

One day a vague memory of a golden rose arose. Either Shamet saw this rough rose, forged from blackened gold, suspended from a crucifix in the house of an old fisherman, or he heard stories about this rose from those around him.

No, perhaps he even saw this rose once and remembered how it glittered, although there was no sun outside the windows and a gloomy storm was rustling over the strait. The further, the more clearly Shamet remembered this brilliance - several bright lights under the low ceiling.

Everyone in the village was surprised that the old woman was not selling her jewel. She could fetch a lot of money for it. Only Shamet’s mother insisted that selling the golden rose was a sin, because it was given to the old woman “for good luck” by her lover when the old woman, then still a funny girl, worked at a sardine factory in Odierne.

“There are few such golden roses in the world,” said Shamet’s mother. “But everyone who has them in their house will definitely be happy.” And not only them, but also everyone who touches this rose.

The boy was looking forward to making the old woman happy. But there were no signs of happiness. The old woman's house shook from the wind, and in the evenings no fire was lit in it.

So Shamet left the village, without waiting for a change in the old woman’s fate. Only a year later, a fireman he knew from a mail boat in Le Havre told him that the old woman’s son, an artist, bearded, cheerful and wonderful, had unexpectedly arrived from Paris. From then on the shack was no longer recognizable. It was filled with noise and prosperity. Artists, they say, receive a lot of money for their daubs.

One day, when Chamet, sitting on the deck, combed Suzanne’s wind-tangled hair with his iron comb, she asked:

- Jean, will someone give me a golden rose?

“Anything is possible,” replied Shamet. “There will be some eccentric for you too, Susie.” There was one skinny soldier in our company. He was damn lucky. He found a broken golden jaw on the battlefield. We drank it down with the whole company. This is during the Annamite War. Drunk artillerymen fired a mortar for fun, the shell hit the mouth of an extinct volcano, exploded there, and from the surprise the volcano began to puff and erupt. God knows what his name was, that volcano! Kraka-Taka, I think. The eruption was just right! Forty civilian natives died. To think that so many people disappeared because of one jaw! Then it turned out that our colonel had lost this jaw. The matter, of course, was hushed up - the prestige of the army was higher than anything else. But we got really drunk then.

– Where did this happen? – Susie asked doubtfully.

- I told you - in Annam. In Indochina. There, the ocean burns like hell, and jellyfish look like lace ballerina skirts. And it was so damp there that mushrooms grew in our boots overnight! Let them hang me if I'm lying!

Before this incident, Shamet had heard a lot of soldiers’ lies, but he himself never lied. Not because he couldn’t do it, but there was simply no need. Now he considered it a sacred duty to entertain Suzanne.

Chamet brought the girl to Rouen and handed her over to a tall woman with pursed yellow lips - Suzanne's aunt. The old woman was covered in black glass beads and sparkled like a circus snake.

The girl, seeing her, clung tightly to Shamet, to his faded overcoat.

- Nothing! – Shamet said in a whisper and pushed Suzanne on the shoulder. “We, the rank and file, don’t choose our company commanders either. Be patient, Susie, soldier!

“Golden Rose” is a book of essays and stories by K. G. Paustovsky. First published in the magazine “October” (1955, No. 10). Published as a separate publication in 1955.

The idea of the book was born in the 30s, but it took full shape only when Paustovsky began to put on paper the experience of his work in the prose seminar at the Literary Institute. Gorky. Paustovsky initially intended to call the book “The Iron Rose”, but later abandoned the intention - the story of the lyre player Ostap, who chained the iron rose, was included as an episode in “The Tale of Life”, and the writer did not want to exploit the plot again. Paustovsky was planning, but did not have time to write a second book of notes on creativity. In the last lifetime edition of the first book (Collected works. T.Z.M., 1967-1969), two chapters were expanded, several new chapters appeared, mainly about writers. “Notes on a Cigarette Box,” written for the 100th anniversary of Chekhov, became the chapter of “Chekhov.” The essay “Meetings with Olesha” turned into the chapter “Little Rose in the Buttonhole.” The same publication includes the essays “Alexander Blok” and “Ivan Bunin”.

“The Golden Rose,” in Paustovsky’s own words, “is a book about how books are written.” Its leitmotif is most fully embodied in the story that begins “The Golden Rose.” The story of the “precious dust” that Parisian scavenger Jean Chamet collected in order to order a gold rose from a jeweler is a metaphor for creativity. The genre of Paustovsky’s book seems to reflect its main topic: it consists of short “grains” of stories about writing duty (“Inscription on a boulder”), about the connection between creativity and life experience(“Flowers from shavings”), about design and inspiration (“Lightning”), about the relationship between the plan and the logic of the material (“Revolt of Heroes”), about the Russian language (“Diamond Language”) and punctuation marks (“The Incident in Alschwang’s Store” ), about the working conditions of the artist (“As if it were nothing”) and artistic detail (“The Old Man in the Station Buffet”), about imagination (“Life-Giving Principle”) and about the priority of life over creative imagination (“Night Stagecoach”).

Conventionally, the book can be divided into two parts. If in the first the author introduces the reader into the “secret of secrets” - into his creative laboratory, then the other half consists of sketches about writers: Chekhov, Bunin, Blok, Maupassant, Hugo, Olesha, Prishvin, Green. The stories are characterized by subtle lyricism; As a rule, this is a story about what has been experienced, about the experience of communication - face-to-face or correspondence - with one or another of the masters of artistic expression.

The genre composition of Paustovsky’s “Golden Rose” is in many ways unique: a single compositionally complete cycle combines fragments with different characteristics - confession, memoirs, a creative portrait, an essay on creativity, a poetic miniature about nature, linguistic research, the history of the idea and its implementation in the book, an autobiography , household sketch. Despite the genre heterogeneity, the material is “cemented” by the end-to-end image of the author, who dictates his own rhythm and tonality to the narrative, and conducts reasoning in accordance with the logic of a single theme.

Paustovsky’s “Golden Rose” evoked many responses in the press. Critics noted the high skill of the writer, the originality of the very attempt to interpret the problems of art through the means of art itself. But it also caused a lot of criticism, reflecting the spirit of the transitional time that preceded the “thaw” of the late 50s: the writer was reproached for the “limitedness of the author’s position,” “excess of beautiful details,” and “insufficient attention to the ideological basis of art.”

In Paustovsky’s book of stories, created in the final period of his work, the artist’s interest in the sphere of creative activity, in the spiritual essence of art, which was noted in his early works, reappeared.

The language and profession of a writer - K.G. writes about this. Paustovsky. "Golden Rose" ( summary) is exactly about this. Today we will talk about this exceptional book and its benefits for both the average reader and the aspiring writer.

Writing as a vocation

"Golden Rose" is a special book in Paustovsky's work. It was published in 1955, at that time Konstantin Georgievich was 63 years old. This book can only be called a “textbook for aspiring writers” only remotely: the author lifts the curtain on his own creative kitchen, talks about himself, the sources of creativity and the role of the writer for the world. Each of the 24 sections carries a piece of wisdom from a seasoned writer who reflects on creativity based on his many years of experience.

Unlike modern textbooks"Golden Rose" (Paustovsky), a brief summary of which we will consider further, has its own distinctive features: There is more biography and reflections on the nature of writing, and no exercises at all. Unlike many modern authors Konstantin Georgievich does not support the idea of writing everything down, and for him writing is not a craft, but a vocation (from the word “call”). For Paustovsky, a writer is the voice of his generation, the one who must cultivate the best that is in a person.

Konstantin Paustovsky. "Golden Rose": summary of the first chapter

The book begins with the legend of the golden rose (“Precious Dust”). It talks about the scavenger Jean Chamet, who wanted to give a rose made of gold to his friend, Suzanne, the daughter of a regimental commander. He accompanied her on her way home from the war. The girl grew up, fell in love and got married, but was unhappy. And according to legend, a golden rose always brings happiness to its owner.

Shamet was a garbage man, he did not have money for such a purchase. But he worked in a jewelry workshop and came up with the idea of sifting the dust that he swept out of there. Many years passed before there were enough grains of gold to make a small golden rose. But when Jean Chamet went to Suzanne to give her a gift, he found out that she had moved to America...

Literature is like this golden rose, says Paustovsky. "The Golden Rose", a summary of the chapters of which we are considering, is completely imbued with this statement. The writer, according to the author, must sift through a lot of dust, find grains of gold and cast a golden rose that will make the life of an individual and the whole world better. Konstantin Georgievich believed that a writer should be the voice of his generation.

A writer writes because he hears a call within himself. He can't help but write. For Paustovsky, the writer is the most beautiful and most difficult profession in the world. The chapter “The Inscription on the Boulder” talks about this.

The birth of the idea and its development

“Lightning” is chapter 5 from the book “Golden Rose” (Paustovsky), the summary of which is that the birth of a plan is like lightning. The electric charge builds up for a very long time in order to later strike with full force. Everything that a writer sees, hears, reads, thinks, experiences, accumulates in order to one day become the idea of a story or book.

In the next five chapters, the author talks about naughty characters, as well as the origins of the idea for the stories “Planet Marz” and “Kara-Bugaz”. In order to write, you need to have something to write about - main idea these chapters. Personal experience very important for a writer. Not the one that is created artificially, but the one that a person receives while living active life, working and communicating with different people.

"Golden Rose" (Paustovsky): summary of chapters 11-16

Konstantin Georgievich reverently loved the Russian language, nature and people. They delighted and inspired him, forced him to write. The writer attaches enormous importance to knowledge of language. Everyone who writes, according to Paustovsky, has his own writer’s dictionary, where he writes down all the new words that impress him. He gives an example from his life: the words “wilderness” and “swei” were very unknown to him for a long time. He heard the first from the forester, the second he found in Yesenin’s verse. Its meaning remained unclear for a long time, until a philologist friend explained that svei are those “waves” that the wind leaves on the sand.

You need to develop a sense of words in order to be able to convey its meaning and your thoughts correctly. In addition, it is very important to use punctuation marks correctly. An instructive story from real life can be read in the chapter "Incidents at Alschwang's Store."

On the Uses of Imagination (Chapters 20-21)

Although the writer seeks inspiration in the real world, imagination plays a big role in creativity, says Konstantin Paustovsky. The Golden Rose, a summary of which would be incomplete without this, is replete with references to writers whose opinions about the imagination differ greatly. For example, the verbal duel between Emile Zola and Guy de Maupassant is mentioned. Zola insisted that a writer does not need imagination, to which Maupassant responded with a question: “How then do you write your novels, having only one newspaper clipping and not leaving the house for weeks?”

Many chapters, including "Night Stagecoach" (chapter 21), are written in short story form. This is a story about the storyteller Andersen and the importance of maintaining a balance between real life and imagination. Paustovsky tries to convey to the aspiring writer very important thing: In no case should you give up a real, full life for the sake of imagination and a fictional life.

The art of seeing the world

You can't feed your creative juices only with literature - main idea last chapters of the book "Golden Rose" (Paustovsky). The summary boils down to the fact that the author does not trust writers who do not like other types of art - painting, poetry, architecture, classical music. Konstantin Georgievich expressed an interesting idea on the pages: prose is also poetry, only without rhyme. Every Writer with a capital W reads a lot of poetry.

Paustovsky advises training your eye, learning to look at the world through the eyes of an artist. He tells his story of communicating with artists, their advice and how he himself developed his aesthetic sense by observing nature and architecture. The writer himself once listened to him and reached such heights of mastery of words that even Marlene Dietrich knelt before him (photo above).

Results

In this article we have analyzed the main points of the book, but this is not the complete content. “The Golden Rose” (Paustovsky) is a book that is worth reading for anyone who loves the work of this writer and wants to know more about him. It will also be useful for beginning (and not so beginning) writers to find inspiration and understand that a writer is not a prisoner of his talent. Moreover, a writer is obliged to live an active life.