Роль символов в произведении Джона Бойна "Мальчик в полосатой пижаме".

Содержание

Введение ………………………………………………………………………… 3

Глава 1 Теоретические аспекты символа ........................................................ 6 

1. Понятие символа …………………………………………………………… 6
2. Функции символа ………………………………………………………….. 8
3. Значение символа в художественном произведении ……………………. 8

Глава 2 Художественная ценность символов в произведении Джона Бойна «Мальчик в полосатой пижаме» ……………………………………………… 10

2.1 Жизнь и творческий путь Джона Бойна ………………………………... 10

2.2 Символы в произведении Д. Бойна «Мальчик в полосатой пижаме» .. 10

Заключение ……………………………………………………………………. 23

Список литературы …………………………………………………………… 26

Приложение № 1 ……………………………………………………………… 28

Приложение № 2 ……………………………………………………………… 32  

Приложение № 3 ……………………………………………………………… 36

Приложение № 4 ……………………………………………………………… 37  

Приложение № 5 ……………………………………………………………… 39  

Приложение № 6 ……………………………………………………………… 40

Приложение № 7 …………………………………………………………….... 41

Приложение № 8 ……………………………………………………………… 42

Приложение № 9 ……………………………………………………………… 44

Приложение № 10 ……………………………………………………………. 51

Приложение № 11 …………………………………………………………….. 52

Приложение № 12 …………………………………………………………….. 54

Приложение № 13 …………………………………………………………….. 55

Приложение № 14 …………………………………………………………….. 57

Приложение № 15 …………………………………………………………….. 61

Приложение № 16 …………………………………………………………….. 62

Введение

Данная работа посвящена теме «Роль символов в произведении Джона Бойна «Мальчик в полосатой пижаме».

В своих произведениях Джон Бойн создает и использует средства художественной изобразительности в соответствии со своим замыслом. Одним из мощных стилистических средств характеристики явлений и предметов действительности является символ. Символ не только наименование какой-либо отдельной частности, в отличие от знака, он схватывает связь этой частности со множеством других, подчиняя эту связь одному закону, единому принципу, подводя их к некой единой универсалии. Объединяя различные пласты реальности в единое целое, символ создаёт собственную сложную многоплановую структуру, своеобразную смысловую перспективу, объяснение и понимание которой требует от интерпретатора работы с кодами различного уровня. Поэтому символ в литературе имеет не одно, а неисчерпаемое множество значений и обладает необыкновенной смысловой ёмкостью.

Символ в значительной степени способствует раскрытию авторского мироощущения. Исследование символов и их роли в художественном произведении остается важным в настоящее время, что обусловливает актуальность выбранной темы исследования, так как символы служат созданию картины жизни, позволяя вообразить и почувствовать читателю то, что изображено словами.    

Объектом исследования в работе является символ, используемый автором в произведении.

Предметом исследования выступают смыслы символа, интерпретируемые читателем.

Практическим материалом для исследовательской работы послужило произведение Джона Бойна «Мальчик в полосатой пижаме».

Цель исследовательской работы –  определить, какова роль символов в произведении Д. Бойна «Мальчик в полосатой пижаме».

В соответствии с целью исследования в работе ставятся следующие задачи:

1) раскрыть понятие символ;

2) представить функции символа;

3) определить значение символа в художественном произведении;

4) выявить и определить символы в произведении «Мальчик в полосатой пижаме»;

5) сделать выборку примеров определенных символов;

6) интерпретировать значение символа с помощью литературных источников;

7) раскрыть смыслы символа с учетом главной идеи и замысла произведения;

8) установить количественное соотношение отобранных примеров символов.  

Исследование нашей работы базируется на методах сплошной выборки, контекстуального анализа,  сравнительно-сопоставительного анализа, анализа словарных дефиниций, математического ранжирования.

Структура работы определяется целями и задачами. Работа состоит из введения, двух глав, заключения, списка литературы и приложений.

Во введении мотивируется выбор темы и объекта исследования, формируется основная цель и задачи работы, описывается методология исследования, структура работы.

В первой главе рассматриваются теоретические вопросы: раскрывается понятие символа, описываются функции символа, определяется значение символа в художественном произведении.

Вторая глава ставит своей целью выявить символы, а также сделать выборку примеров символов в тексте произведения, осуществить толкование определенных символов, определить роль символов в произведении.

В заключении подводятся суммарные теоретические и практические итоги исследования, делаются общие выводы по исследовательской работе.

Глава 1 Теоретические аспекты символа 

1. 1 Понятие символа

Ожегов С. И. определяет символ как то, что служит условным знаком какого-нибудь понятия, явления, идеи [14]. Однако данное понятие слишком общее, не дающего полного представления о символе в литературе.

Само слово символ пришло к нам из греческого языка (symbolon – знак, опознавательная примета; symballo – соединяю, сталкиваю, сравниваю). В Древней Греции символами называли половины разрезанной надвое палочки, на которой знаками наносились размеры долга, собранного налога и т.п., а также условный опознавательный знак для членов тайной организации [26]. Если исходить строго из греческого значения слова, то символ – это эмблема, условный художественный образа. Поскольку символ имеет знаковую природу, то ему присущи все свойства знака. Однако нельзя утверждать, что функция символа – это только указание.

Русский философ и филолог, профессор, доктор филологических наук А. Ф. Лосев определял символ как «субстанциальное тождество идеи и вещи». Всякий символ включает в себя вещь (образ), но не сводится к нему, поскольку подразумевает присутствие некоего смысла, нераздельно слитого с образом, но ему не тождественного. Образ и смысл образуют два элемента символа, немыслимые друг без друга. Поэтому символы существуют как символы (а не как вещи) только внутри интерпретаций.[11]

Символ – идея, образ или объект, имеющий собственное содержание и одновременно представляющий в обобщенной, неразвернутой форме некоторое содержание. Символ стоит между (чистым) знаком и, у которого собственное содержание ничтожно и моделью, имеющей прямое сходство с моделируемым объектом, что позволяет модели замещать последний в процессе исследования. Символ используется человеком в своей  деятельности и имеет в силу этого определенную цель. Он всегда служит обнаружению чего-то неявного, не лежащего на поверхности, непредсказуемого. Если цель отсутствует, то нет и символа как элемента социальной жизни, а есть то, что обычно называется знаком и служит для простого обозначения объекта. [25]

У символа всегда имеется целое семейство значений. Они связываются в единство посредством аналогии или ассоциации, которые могут опираться как на реальный, так и на вымышленный мир. Символ конденсирует множество идей, действий, отношений между вещами и т. д. Он является свернутой формой высказывания или даже целого рассказа. Он всегда не только многозначен, но и неопределенен. Его значения чаще всего разнородны: образы и понятия, конкретное и абстрактное, познание и эмоции, сенсорное и нормативное. Символ может представлять разнородные и даже противоположные темы. Единство значений символа никогда не является чисто познавательным, во много оно основывается на интуиции и чувстве. [25]

Н. Д. Арутюнова в статье «Образ, метафора, символ в контексте жизни и культуры» пишет, что в символе стабилизируется форма. Символ тяготеет к графическому изображению. Символом может стать герой или вождь, подвижник или гений, носитель идеи или даже сама высокая идея, борец за ее осуществление или святой. Из числа естественных объектов в отношения символизации вовлекаются устрашающие силы природы и таинственный силы судьбы, космические тела и драгоценные камни, животные и растения. Символ влиятелен, но он не коммуникативен. Символ безадресатен. Нельзя передать символом какое-либо конкретное сообщение другому лицу. Можно поманить или отогнать кого-либо знаком, но не символом. Символ не может скрывать за собой наделенное коммуникативной функцией высказывание. Символом не отдают ни приказов, ни распоряжений. Его диктату подчиняются добровольно. Область символа – отвлеченные категории. Смысл символов может быть самым общим и туманным. Символы можно только интерпретировать. Их интерпретация варьируется в широком диапазоне. [2]

Таким образом, можно заключить, что структура символа направлена на то, чтобы дать через каждое частное явление целостный образ мира. Символ не рассчитан на постижение разумом или сознанием, а стремится вызвать ассоциации, эмоционально воздействовать на воспринимающего, «внушить» определённое впечатление, настроение, состояние и тем самым заставить увидеть в предмете или явлении их глубинную, скрытую сущность.

1. 2 Функции символа

Специфическими отличиями символа от всех знаковых тропов являются следующие его функции, значащие не меньше, чем общая для всех тропов проблема выражения заданного содержания: 1) способность символа к бесконечному раскрытию своего содержания в процессе соотнесения со  своей предметностью при сохранении данной символической формы. В этом отношении оправдано понимание такого процесса не только как интерпретации заданного смысла, но и как одновременно порождения этого смысла; 2) способность символа, связанная с опытом его толкования, устанавливать коммуникацию, которая в свою очередь создает сообщество «посвященных», то есть субъектов, находящихся в поле действия и относительной понятности символа; 3) устойчивое тяготение символа к восхождению отданных «частей» к действительному и предполагаемому «целому» символу. В этом случае он является местом встречи того, что само по себе не соединимо. [25]        

1. 3 Значение символа в художественном произведении

В искусстве символ всегда имел важное значение. Это связано с природой образа, основной категорией искусства. Ибо в той или иной мере всякий образ условен и символичен уже потому, что в единичном воплощает общее.

В художественной литературе известная символичность таится в любом сравнении, метафоре, параллели, даже подчас эпитаже. Олицетворение в баснях, аллегоричность сказок, аллегория вообще – это в сущности разновидности символики.

Символ – характеристика художественного образа с точки зрения осмысленности, выражения или некоей художественной идеи. Символ неотделим  от его образной структуры и отличается неисчерпаемой многозначностью своего содержания.

Всякий символ указывает на некоторый предмет, выходящий за пределы его непосредственного содержания. Он всегда содержит в себе некоторого рода смысл, но не просто смысл самих вещей, отражающих друг друга. Символ вещи – обобщение, зовущее за пределы этой вещи, создающее бесконечную смысловую перспективу. Символ содержит в себе всегда какую-то идею, которая оказывается законом всего ее построения.

В искусстве необходимо исходить не просто из чувственного представления, в котором нет ничего обобщенного, но именно из таких образов, которые наделены большой обобщающей силой, так что художественный образ обязательно всегда есть одновременно и такое единичное, которое мы могли бы воспринимать внешними органами чувств, и такое обобщенное, которое заставляет нас мыслить и делать всякого рода выводы и для единичных явлений реально человеческой жизни. Вот почему художественный образ, лишенный этой обобщающей силы и мощи символической картины этой жизни, всегда есть только бессильная натуралистическая копия жизни, никуда не зовущая и никак не взывающая о необходимости творческих переделываний действительности. [26]

Таким образом, под символом мы будем понимать образ, взятый в аспекте своей знаковости; он есть знак, наделённый всей органичностью и неисчерпаемой многозначностью образа. Художественная задача символа в литературе заключается в том, что влияя на чувства, воображение, эмоции, пробудить готовность воспринимать идеальные (нематериальные) понятия, а не объяснять их логически; дать некий намёк, указание на существование у изображаемого сокровенного смысла и стать «проводником» к нему. [25]

Глава 2 Художественная ценность символов в произведении Джона Бойна «Мальчик в полосатой пижаме»

2. 1 Жизнь и творческий путь Джона Бойна

Джон Бойн родился в Дублине, Ирландия, 30 апреля 1971 года. Изучал английскую литературу в Тринити Колледже, Дублин и писательское мастерство в Университете Восточной Англии, Норидж, где стал обладателем премии Кертиса Брауна (премия, присуждаемая за лучшее студенческое произведение в прозе). В университете писательскому мастерству его учил классик современной английской литературы Малколм Брэдбери.

Его ранняя проза состояла главным образом из рассказов. Первый рассказ Бойна — “Entertainments Jar” («Фляга развлечений») был в шортлисте Hennessy Literary Award в Ирландии. Всего он издал приблизительно 70 рассказов.

На сегодняшний день им написано восемь романов для взрослых и четыре романа для детей. Его книги изданы на 46 языках. Роман «Мальчик в полосатой пижаме» (“The boy in the striped pyjamas”) (2006) был экранизирован компанией «Мирамакс». Фильм получил несколько престижных кинопремий. Сам роман получил две премии Irish Book Awards, премию Bisto Book of the Year и был призером или представлен в шортлисте нескольких международных наград. Кроме этого, роман 80 недель возглавлял список бестселлеров Ирландии и возглавил New York Times Bestseller List и был наиболее продаваемым романом в Испании в 2007-м и 2008-м годах. Во всем мире продано свыше 5 миллионов экземпляров книги.

Дж. Бойн - книжный обозреватель газеты "The Irish Times", преподает в Ирландском писательском центре. Творческий стипендиат университета Восточной Англии. [29]

2.  2 Символы в произведении Джона Бойна «Мальчик в полосатой пижаме»

Произведение Джона Бойна «Мальчик в полосатой пижаме» было написано в 2006 году. История, происходящая во время второй мировой войны и показанная сквозь глаза невинного и ничего не подозревающего о происходящих событиях Бруно, восьмилетнего сына коменданта концентрационного лагеря. Его случайное знакомство и дружба с еврейским мальчиком по другую сторону ограды лагеря, в конечном счете, приводит к самым непредсказуемым и ошеломительным последствиям. 

Во время войны Бруно живет со своей семьей в Берлине. Его отец — высокопоставленный нацистский чиновник. После назначения отца на новую должность семья вынуждена переехать. В окрестностях нового дома Бруно обнаруживает странную ферму с необычными людьми: они ходят в пижамах, играют в номера, которые пришиты к пижамам, и зачем-то сжигают старую одежду в больших печах, поэтому из длинных печных труб часто идёт чёрный дым.

Все члены семьи, кроме отца и дочери, которой в её 12 лет очень понравились идеи нацизма, тяжело переживают соседство с концентрационным лагерем, в котором при помощи газа регулярно уничтожаются узники-евреи.

Только Бруно не знает и не понимает, что происходит. Он знакомится с еврейским мальчиком по имени Шмуэль, который довольно хорошо устроился на этой ферме, как думает Бруно (посмотрев фильм про жизнь в лагерях): там люди ходят в кафе и бары, играют в футбол, дети весело играют на улице.

Когда приходит время уезжать обратно в Берлин, Бруно решает пробраться на территорию лагеря, чтобы помочь Шмуэлю найти якобы пропавшего на новой работе отца мальчика. Шмуэль дает ему арестантскую одежду, и они отправляются к баракам. Сразу после этого их сгоняют в газовую камеру, где Бруно и Шмуэль погибают вместе с остальными узниками.

Безусловно, созданию произведения послужил не только необычный сюжет, но и особый писательский стиль автора. Наличие всевозможных художественных средств придает его рассказу экспрессивность и эмоциональность. Какова же роль символов в произведении Джона Бойна «Мальчик в полосатой пижаме» нам предстоит выяснить.

На наш взгляд, дом является основным символом произведения.

House noun BUILDING 1 a building for people to live in, usually for one family. [20]

Дом символизирует «освоенное, покоренное, «одомашненное» пространство, где человек находится в безопасности» [17] В произведении дом представлен тремя воплощениями: дом немецкой семьи в Берлине, дом семьи в концентрационном лагере Аж-Высь, дом-барак для заключенных евреев. И, действительно, Бруно чувствует себя в безопасности от войны, смерти, всеобщего безумия в своем родном доме в Берлине. Новый дом в лагере очень долгое время остается для мальчика чужим. “Everything here is horrible,” he said out loud, even though there was no one present to hear him, but somehow it made him feel better to hear the words stated anyway. “I hate this house, I hate my room and I even hate the paintwork. I hate it all. Absolutely everything.” [27] Бруно очень тоскует и часто вспоминает, как ему было хорошо, тепло, безопасно и уютно в старом доме. Однако вскоре новый дом в Аж-Выси становится родным для Бруно.

Bruno felt almost glad when they returned to OutWith. The house there had become his home now and he'd stopped worrying about the fact that it had only three floors rather than five, and it didn't bother him so much that the soldiers came and went as if they owned the place. [27]

И здесь, в лагере, дом – символ защищенного пространства. Бараки для заключенных (hut) являются спасением для евреев-пленников от немецких солдат-надсмотрщиков. Друг Бруно Шмуэль чувствует себя в безопасности, только находясь внутри этих лачуг. Непредназначенные для жилья бараки стали новым домом для еврейского мальчика и его папы. Hut noun a small, simply built house or shelter. [20]  

Таким образом, для героев произведения дом является символом безопасности, защищенного места от внешнего серого и мучительного мира войны. В Приложении № 1 представлены дополнительные примеры символа дом.

Следующий символ произведения – это окно.

Window noun 1 an opening in the walls or roof of a building, car, etc., usually covered with glass, that allows light and air to come in and people to see out; the glass in a window. [20]

Для главного героя произведения Бруно окно является неким наблюдательным пунктом за всем, что происходит снаружи. «Окно – это око дома. Окна, прежде всего, имели значение «наблюдательного пункта», бойниц» [7] На наш взгляд, окно символизирует некий портал, проход во внешний мир. Оно позволяет мальчику познавать неизвестную и очень странную для него на тот момент реальность существования немецкого лагеря с заключенными в нем людьми. But then one thing caught his eye. Over in the corner of the room opposite the door there was a window in the ceiling that stretched down into the wall, a little like the one on the top floor of the house in Berlin, only not so high. Bruno looked at it and thought that he might be able to see out without even having to stand on tiptoes. [27] Окно, как будто, разделяет два мира: мир Бруно и его семьи – уютный, домашний, безопасный, комфортный и спокойный и мир Шмуэля – таинственный, неизведанный, странный и опасный. Возможно, окно символизирует некий щит, перегородку, не позволяющую ребенку стать частью той страшной реальности военного положения, о которой известно всем, кроме него. Окно уберегает Бруно, не позволяет узнать, что на самом деле кроется за стенами бараков в лагере Аж-Высь. Символ окно представлен в цитатах в Приложении № 2.

Зеркало также является важным символом в произведении. Именно на него автор обращает внимание читателей, как только события переносятся в новый дом в Аж-Выси: “If you sort that lot out, you could put them in the chest of drawers over there,” she said, pointing towards an ugly chest that stood across the room beside a mirror that was covered in dust. [27]

 В книге «Знаки и символы» мы нашли толкование слова «зеркало»: «символическая дверь, расширяющая пространство» [7]

Mirror noun a piece of special flat glass that reflects images, so that you can see yourself when you look in it. [20]

Однако зеркало в новом доме запыленное, следовательно, символика расширения пространства нарушена. Более того, в этом же источнике трактуется, что «зеркала должны оставаться чистыми, иначе в семье начнутся ссоры» [7] И, действительно, произведение заканчивается распадом семьи, чему способствуют близкие интимные отношения матери с лейтенантом Котлером, нежелание матери смириться с новой должностью и обязанностями отца, и, конечно же, исчезновение Бруно.  

Что же касается мыши как символа, то необходимо сказать, что различные источники трактуют ее по-разному: «мышь – трикстерный персонаж, связывающий небо, землю и преисподнюю; мышь символизирует горе, мор, чуму, является предзнаменованием войны» [17]; «мыши присущи демонические и пророческие силы» [3]

Mouse noun 1 a small animal that is covered in fur and has a long thin tail. Mice live in fields, in people’s houses or where food is stored. [20]

Однако есть и противоположное толкование слова «мышь»: «помогающая найти потерю в доме, символ богатства, юркости и находчивости» [7] Обратимся к цитате: Bruno smiled and walked towards the door, indicating that Gretel should follow him. She gave out a deep sigh as she did so, stopping to put the doll on the bed but then changing her mind and picking it up and holding it close to her chest as she went into her brother's room, where she was nearly knocked over by Maria storming out of it holding something that closely resembled a dead mouse. [27] Очевидно, что мертвая мышь является антиподом богатству и благополучию. Также мертвая мышь не найдет пропажу в доме. Нам кажется, что пропажей в доме семьи наших героев может быть счастье и покой, которые навсегда потеряны в забвении войны. Скорее всего, мертвая мышь символизирует горе грядущих событий.

Также зыбкость счастья семьи символизирует стакан.

Glass noun • TRANSPARENT SUBSTANCE 1 a hard, usually transparent, substance used, for example, for making windows and bottles; • FOR DRINKING 2 (often in compounds) a container made of glass, used for drinking out of; 3 the contents of a glass; • GLASS OBJECTS 4 objects made of glass. [20]

 “We don't have the luxury of thinking,” said Mother, opening a box that contained the set of sixtyfour glasses that Grandfather and Grandmother had given her when she married Father. “Some people make all the decisions for us.” [27]

 Mother smiled and put the glasses down carefully on the table. “I have another phrase for you,” she said. “It's that we have to make the best of a bad situation.” [27] Можно рассудить, что стакан, сделанный из стекла может легко разбиться. Автор показывает, что пока спокойствие и мир в семье еще можно сберечь, однако, одно неосторожное движение или поступок могут разрушить целостность семьи. В Приложении № 4 представлены примеры символа стакан/стекло.

На наш взгляд, свет является символом надежды в произведении. “Well, I don’t like the way we have to turn all the lights off at night now,” he admitted. [27]  

“Well, it used to be very quiet there,” explained Bruno, who didn't like to talk about how things had changed. “And I was able to read in bed at night. But now it's quite noisy sometimes, and scary, and we have to turn all the lights off when it starts to get dark.” [27]

Light noun • FROM SUN/LAMPS 1 the energy from the sun, a lamp, etc. that makes it possible to see things; 2 a particular type of light with its own colour and qualities; • LAMP 3 a thing that produces light, especially an electric light. [20]

Однако из-за систематических обстрелов или бомбардировочных атак советских самолетов местные жители Берлина вынуждены выключать свет раньше. Более того, по всему городу введен комендантский час. Мы можем заключить, что у немецких людей нет надежды на скорейшее окончание войны. А у семьи Бруно нет надежды на спокойную и счастливую жизнь в старом доме в Берлине.

Находясь в новом доме в Аж-Выси, Бруно увидел через окно клумбу цветов, аккуратно посаженных перед домом. Бруно показалось, что та забота и тепло, с которыми за ними ухаживали, похожи на тепло свечи, зажженной в темноте в зимний вечер. It started off nicely enough. There was a garden directly beneath Bruno's window. Quite a large one too, and full of flowers which grew in neat orderly sections in soil that looked as if it was tended very carefully by someone who knew that growing flowers in a place like this was something good that they could do, like putting a tiny candle of light in the corner of a huge castle on a misty moor on a dark winter's night. [27]

«Свеча сохраняет для человека живой огонь» [17] «Свеча – символ течения жизни человека» [17] Возможно, свеча является символом света, надежды, продолжения жизни. Автор вновь дает надежду семье мальчика Бруно на сохранение семейного счастья, а еврейским заключенным надежду на спасение от неминуемой смерти. Свеча символизирует обнадеживающий лучик света, каплю мира в бесконечно длинном и темном туннеле войны.

Candle noun a round stick of wax with a piece of string (called a wick) through the middle which is lit to give light as it burns. [20]

 Что же касается цветков, то Г. Бидерманн в энциклопедии символов трактует цветок как «символ молодой жизни, символ солнца, всего мира, жизненной силы и жизнерадостности, окончания зимы и победы над смертью» [3] Flower noun 1 the coloured part of a plant from which the seed or fruit develops. [20] То есть, можно заключить, что цветы – символ надежды на победу жизненного начала над неизбежными трагическими утратами войны. С другой стороны, энциклопедия символов, знаков, эмблем под редакцией В. Андреева ассоциирует цветок с идеей временности и хрупкости [17] Возможно, это новая надежда на не долговременность войны. А может быть, это хрупкость мира и счастья на земле, которое очень скоро разрушится под натиском войны.

Дождь является очередным символом в произведении. Rain noun 1 water that falls from the sky in separate drops; verb 1 when it rains, water falls from the sky in drops. [20]

Статьи энциклопедий знаков и символов трактуют дождь как «жизненную силу, проливающуюся с неба, символизирующую благословение и откровение Бога» [17], а также «жизненную силу души, которая приводит тело в состояние расцвета» [3] Однако дождь на страницах энциклопедий выступает как «источник потопа и разрушений, проявление гнева Бога» [17]; «дождь разрушает землю» [3] На наш взгляд, на последних страницах произведения дождь символизирует некий щит, преграду для мальчиков, точнее для их похода в бараки концентрационного лагеря. И с каждым часом дождь все усиливается. Сама природа буквально кричит, взывает о помощи, старается преградить путь детям на верную смерть. The next dayFridaywas another wet day. When Bruno woke in the morning he looked out of his window and was disappointed to see the rain pouring down. [27]  

Bruno frowned. He looked up at the sky, and as he did so there was another loud sound, this time the sound of thunder overhead, and just as quickly the sky seemed to grow even darker, almost black, and rain poured down even more heavily than it had in the morning. [27]

В Приложении № 8 представлены дополнительные примеры символа дождь.

Забор в Аж-Выси, отделявший дом Бруно от жилья заключенных, также, на наш взгляд, является символом в произведении.

About twenty feet further along from the garden and the flowers and the bench with the plaque on it, everything changed. There was a huge wire fence that ran along the length of the house and turned in at the top, extending further along in either direction, further than she could possibly see. The fence was very high, higher even than the house they were standing in, and there were huge wooden posts, like telegraph poles, dotted along it, holding it up. At the top of the fence enormous bales of barbed wire were tangled in spirals, and Gretel felt an unexpected pain inside her as she looked at the sharp spikes sticking out all the way round it. [27]

 Fence noun 1 a structure made of wood or wire supported with posts that is put between two areas of land as a boundary, or around a garden/yard, field, etc. to keep animals in, or to keep people and animals out. [20] Мальчику Бруно кажется, что забор, вдоль которого он часто гулял, был практически бесконечен. Возможно, забор символизирует бесконечность одиночества Бруно или бесконечность войны. С другой стороны, забор может символизировать преграду для мальчика от места, несущего смерть. Также забор может быть границей между двумя мирами: миром жизни – новым домом Бруно – и миром смерти – бараками заключенных, домом Шмуэля. Символ забор представлен цитатами в Приложении № 9.  

Энциклопедия символов, знаков, эмблем определяет звезду как «символ надежды, которая умирает последней» [17] Звезда появляется на страницах произведения как звезда Давида (Маген-Давид) – еврейский «щит Давида» - и нагрудный знак отличия у немецких солдат. Можно предположить, что, несмотря на четкое определение значений данных знаков, звезда все-таки символизирует надежду на свободу не только Шмуэля и его семьи, но и остальных заключенных, а также надежду Бруно обрести семейное счастье, дом, избавиться от одиночества. Star noun • SHAPE 2 an object, a decoration, a mark, etc., usually with five or six points, whose shape represents a star; • MARK OF QUALITY 3 a mark that represents a star and tells you how good sth is; • BEST OF GROUP 6 (often used before another noun) a person or thing that is the best of a group. [20]

“And then one day things started to change,” he continued. “I came home from school and my mother was making armbands for us from a special cloth and drawing a star on each one. Like this.” Using his finger he drew a design in the dusty ground beneath him. [27]

“And every time we left the house, she told us we had to wear one of these armbands.”

“My father wears one too,” said Bruno. “On his uniform. It's very nice. It's bright red with a blackandwhite design on it.” Using his finger he drew another design in the dusty ground on his side of the fence. [27]

Еще один символ в произведении – это кукла, точнее куклы, с которыми играла старшая сестра Бруно Гретель. Doll noun 1 a child’s toy in the shape of a person, especially a baby or a child. [20] Интернет-словарь символов дает толкование кукле как «образу души человека, которому можно навредить наведенным колдовством» [30] Действительно, для Гретель куклы были наделены душой, они были живыми существами, с которыми она могла разговаривать, играть. Более того, куклы символизируют целую цивилизацию, группу, мини-сообщество, а может быть являются солдатами или целой армией для Гретель. Ведь постепенно девочка полностью увлекается идеями фашизма и четко отслеживает по карте захваченные немецкой армией новые территории. Gretel's room had changed quite considerably since the last time he had been there. For one thing there wasn't a single doll in sight. One afternoon a month or so earlier, around the time that Lieutenant Kotler had left OutWith, Gretel had decided that she didn't like dolls any more and had put them all into four large bags and thrown them away. In their place she had hung up maps of Europe that Father had given her, and every day she put little pins into them and moved the pins around constantly after consulting the daily newspaper. [27] В этот период ей уже не нужна вымышленная армия из кукол, ведь можно следить за новостями и новыми победами настоящих реальных фашистских солдат. С другой стороны, заброшенные куклы символизируют расставание Гретель с детством и вступление во взрослую жизнь. Однако если предположить, что Гретель стала взрослой девочкой и поняла из газет, новостей, разговоров в доме, в каком месте они живут, и что вокруг идет война, а ее папа – начальник концентрационного лагеря для евреев, то, возможно, куклы, сваленные в кучу, это мертвые тела заключенных, также сваленных в одну кучу перед сожжением в печах. В Приложении № 11 представлены дополнительные примеры символа кукла.

В новом доме в Аж-Выси Бруно замечает деревянную скамейку с непонятной, на первый взгляд, табличкой. Past the flowers there was a very pleasant pavement with a wooden bench on it, where Gretel could imagine sitting in the sunshine and reading a book. There was a plaque attached to the top of the bench but she couldn't read the inscription from this distance. The seat was turned to face the housewhich, usually, would be a strange thing to do but on this occasion she could understand why. [27] Bench noun 1 a long seat for two or more people, usually made of wood. [20] Скамейка также может быть символом в произведении. Возможно, скамейка символизирует спокойствие, умиротворение. Именно сидя на скамейке, например, в парке, наслаждаясь тишиной и красотой природы, люди ощущают спокойствие, отсутствие времени, стремительного течения жизни. Видимо Бруно непроизвольно находил хоть какие-нибудь вещи или места, которые могли стать для него родными, напомнить теплоту и уют старого дома в Берлине. Мальчик искал знакомую ему с детства атмосферу веселого, счастливого дома в условиях серого, дождливого безумия лагеря и войны.  

Еще один символ в произведении – это пижама. Pyjamas noun a loose jacket and trousers/pants worn in bed [20]

And one final thought came into her brother's head as he watched the hundreds of people in the distance going about their business, and that was the fact that all of themthe small boys, the big boys, the fathers, the grandfathers, the uncles, the people who lived on their own on everybody's road but didn't seem to have any relatives at allwere wearing the same clothes as each other: a pair of grey striped pyjamas with a grey striped cap on their heads. “How extraordinary,” he muttered, before turning away. [27] В названии произведения автор Джон Бойн употребляет слово pyjamas: “The boy in the striped pyjamas” Писатель не использует слово униформа, тюремный костюм или какой-нибудь другой термин. На наш взгляд, он делает это не случайно. Ведь пижама – это тот вид одежды, который люди одевают, ложась спать. В данном случае, облачив заключенных в пижамы, Бойн погружает узников в вечный сон, сон, от которого они уже не проснутся никогда. Пижама - символ вечного сна, забвения, неминуемой смерти.

В целом в произведении Джона Бойна «Мальчик в полосатой пижаме» были выявлены и определены четырнадцать символов, которые нашли свое описание и трактовку в исследовательской работе. Так, дом является символом безопасности, окно – наблюдательный пункт, а также щит, преграда, пыльное зеркало – неминуемые ссоры, несчастье, мышь – мор, горе, предзнаменование войны, стеклянный стакан – хрупкость будущего, зыбкость счастья, свет и свеча – надежда, цветы – жизнь, победа над смертью, дождь – защита, преграда, забор – бесконечность, а также щит, преграда, звезда - надежда, куклы – люди, армия, мертвые тела, скамейка – спокойствие, пижама – вечный сон, забвение, смерть. Необходимо сказать, что любой символ обладает неисчерпаемостью смыслов. Наполнив символами произведение, Джон Бойн позволил читателю самостоятельно обнаружить эти скрытые смыслы, додуматься до истинного замысла писателя, представить полную картину сюжета, образов и характеров персонажей, сделать свои собственные выводы. С помощью символов автор добивается глубокого скрытого смысла произведения, заставляет читателя читать между строк, а также обращаться к другим источникам информации, чтобы понять истинный посыл и идею задуманного. Символы произведения «Мальчик в полосатой пижаме» играют роль скрытых проводников в глубину авторской задумки.          

Заключение

Исходя из поставленной цели исследовательской работы (определить, какова роль символов в произведении Д. Бойна «Мальчик в полосатой пижаме»), во введении нами были определены следующие задачи: 1) раскрыть понятие символ; 2) представить функции символа; 3) определить значение символа в художественном произведении; 4) выявить и определить символы в произведении «Мальчик в полосатой пижаме»; 5) сделать выборку примеров символов; 6) интерпретировать значение символа с помощью литературных источников; 7) раскрыть смыслы символа с учетом главной идеи и замысла произведения; 8) установить количественное соотношение отобранных примеров символов.  

  В теоретической части работы были представлены определения символа нескольких лингвистов и филологов: Арутюновой Н. Д., Ожегова С. И.,  Лосева А. Ф. А также в первой главе работы мы перечислили функции символа и определили роль символа в литературе и искусстве. Лингвисты определяют символ не только как знак или образ, воплощающий какую-либо идею, но и как видимое, реже слышимое образование, которому определенная группа людей придает особый смысл, не связанный с сущностью этого образования. Смысл символа, который         не может и не должен быть понятным для людей, не принадлежащих этой группе, то есть для тех, кто не посвящен в значение символов (каждый смысл является по своему характеру тайным или условным знаком), этот смысл является, как правило, намеком на то, что находится сверх или за чувственно-воспринимаемой внешностью образования.

Практическая часть работы была посвящена определению символов в произведении «Мальчик в полосатой пижаме», выборке примеров символов из текста, интерпретации отобранных символов, а также классификации и математическому ранжированию отобранных цитат.

Так, в исследовательской работе было определено и представлено 14 символов: дом, окно, свет, цветок, зеркало, мертвая мышь, свеча, дождь, звезда, пижама, стеклянный стакан, кукла, забор, скамейка. Из 143 отобранных цитат 16 (11 %) примеров пришлось на символ дом, 21 (15 %) – символ окно, 1 (1 %) – зеркало, 10 (7 %) – стекло/стакан, 3 (2 %) – свет, 1 (1 %) – свеча, 3 (2 %) – цветок, 10 (7 %) – дождь, 39 (27 %) – забор, 2 (1,4 %) - звезда, 11 (8 %) – кукла, 2 (1,4 %) – мышь, 5 (4 %) – скамейка, 19 (13 %) - пижама. Диаграмма перечисленных данных представлена в Приложении № 15.

Кроме того, мы посчитали необходимым, разделить отобранные символы на две группы: положительные и отрицательные. Под положительными мы имеем ввиду символы с позитивными смыслами: дом, окно, свет, цветок, свеча, дождь, звезда, скамейка, забор (как щит, преграда). Данные символы трактуются нами как надежда, безопасность, жизнь, победа, щит, преграда. Очевидно, что такое толкование символов имеет положительный заряд и художественную окраску. Ко второй группе символов мы отнесли следующие: пыльное зеркало, мертвую мышь, стеклянный стакан, куклу, пижаму, забор (как бесконечность одиночества). Эти символы мы интерпретировали как горе, предзнаменование войны, ссоры, хрупкость, разрушение, бесконечность одиночества, что свидетельствует об их негативном значении. В Приложении № 16 представлена диаграмма процентного соотношения двух групп символов. Так как к группе символов с положительными смыслами мы определили 9 слов, а к группе символов с отрицательными смыслами – 6, то можно сделать вывод, что идея сюжета произведения наполнена позитивными, светлыми эмоциями, несмотря на трагизм концовки. Автор вселяет в читателя надежду в счастливое будущее без войны. И, действительно, любое горе, несчастье, беду, войну можно победить лишь надеясь. Надежда умирает последней. Джон Бойн призывает людей верить, жить и надеяться на мирное будущее без войны: «Не в наши дни и не в нашем веке» - “Not in this day and age” [27]

Таким образом, палитра смыслов, определенных в работе символов позволяет сделать предположение о роли символа в произведении «мальчик в полосатой пижаме». На наш взгляд, Джон Бойн, наполнив свое произведение символами, попытался воздействовать на духовный внутренний мир читателя. С помощью возникающих в воображении образов и раскрывающихся символов автор побуждает читателя вдумываться в поступки героев, анализировать события, сравнивать образы, одним словом, читать между строк, а не воспринимать лишь внешнее описание происходящего на страницах книги. Обладая неисчерпаемостью смыслов, символ позволяет читателю предполагать, прогнозировать и рассуждать о будущем персонажей, забегая вперед сюжетной линии, что делает чтение более увлекательным.

Кроме того, ценность символики в произведении заключается в том, что читателю необходимо быть осведомленным в правильном толковании уже известных символов в культуре, религии, философии и других фундаментальных течениях для того, чтобы правильно понять посыл автора и глубину сюжета. Безусловно, для понимания и восприятия главной идеи писателя личных эмоций и переживаний может быть не достаточно, и возникает потребность обратиться к дополнительным литературным источникам.

На наш взгляд, с помощью символов Джон Бойн пытается не только литературно красиво и грамотно изобразить героев для своего читателя, но и выразить свое личное отношение к ним, а также к ушедшим уже в историю событиям второй мировой войны. Возможно, книга Бойна – это призыв к людям, не допускать подобных событий, так как ни один человек, ни одна семья, ни одно государство не заслуживают участи войны.  

На наш взгляд, творчество Джона Бойна заслуживает дальнейшего читательского внимания, и многие произведения автора могут послужить материалом для исследовательских изысканий.

Список литературы

1). Арнольд И. В. Лексикология современного английского языка (на англ. языке). Пособие для студентов педагогических институтов. – Ленинград, 1966.

2). Арутюнова Н. Д. Образ, метафора, символ в контексте жизни и культуры//Res philologica филологические исследования. Ред. Д. С. Лихачев. – М., 1990

3). Бидерман Г. Энциклопедия символов: Перс с нем. / Общ. ред. и предисл. Свенцицкой И. С. – М., 1996

4). Большой энциклопедический словарь / Прохоров А. М. и др. -  М.: Большая Российская энциклопедия, СПб.: Норинт, 2001

5). Даль В. И. Толковый словарь русского языка. Современная версия. – М., 2000

6). Ефремова Т. Ф. Новый словарь русского языка. Толково-словообразовательный: - 2-е изд. – М., 2001

7). Зигуненко С. Н. Знаки и символы / С. Н. Зигуненко. – М., 2004

8). Ивлиев О. А. Полная энциклопедия символов. – М., 2005.

9). Крысин Л. П. Толковый словарь иноязычных слов. – М., 1998

10). Лихачев Д. С. Поэтика древнерусской литературы. – М., 1979

11). Лосев А. Ф. Очерки античного символизма и мифологии / А. Ф. Лосев. - М., 1993

12). Новейший словарь иностранных слов и выражений/авт.-сост. Е. С. Зенович. – М., 1994

13). Новый англо-русский словарь / В. К. Мюллер, В. Л. Дашевская, В. А. Каплан и др. – М., 1998

14). Ожегов С. И. Словарь русского языка. – М., 1973

15). Хорнби А. С. Учебный словарь современного английского языка. – М., 1984

16). Школьный словарь иностранных слов: пособие для учащихся / В. В. Одинцов, Г. П. Снолицкий. – М., 1998

17). Энциклопедия символов, знаков, эмблем / Авт.-сост. В. Андреева и др. – М., 2002

18). Collins COBUILD Intermediate Dictionary of English, 2008

19). Galperin I. R., Stylistics, Third edition, Moscow, 1981

20). Oxford Advanced Learner’s Dictionary of Current English, A S Hornby, Seventh edition. Oxford University Press, 2005

21). Oxford Russian Dictionary. Oxford University Press, 2000

22). The Advanced Learner’s Dictionary of Current English by A. S. Hornby, E. V. Gatenby, H. Wakefield. – Ставрополь, 1992

Электронные ресурсы

23). http://wikipedia.ru.org

24). http://fb.ru/article/

25). http://dic.academic.ru/

26). http://www.bukinistu.ru

27). www.e-reading.by

28). www.booktrust.org.uk

29). http://www.johnboyne.com

30). http://gufo.mel

Приложение № 1

Символ дом

1). 'But what about our house?' asked Bruno. 'Who's going to take care of it while we're gone?'

2). Mother sighed and looked around the room as if she might never see it again. It was a very beautiful house and had five floors in total, if you included the basement, where Cook made all the food and Maria and Lars sat at the table arguing with each other and calling each other names that you weren't supposed to use. And if you added in the little room at the top of the house with the slanted windows where Bruno could see right across Berlin if he stood up on his tiptoes and held onto the frame tightly.

3). The house in Berlin had stood on a quiet street and alongside it were a handful of other big houses like his own, and it was always nice to look at them because they were almost the same as his house but not quite, and other boys lived in them who he played with (if they were friends) or steered clear of (if they were trouble). The new house, however, stood all on its own in an empty, desolate place and there were no other houses anywhere to be seen, which meant there would be no other families around and no other boys to play with, neither friends nor trouble.

The house in Berlin was enormous, and even though he'd lived there for nine years he was still able to find nooks and crannies that he hadn't fully finished exploring yet. There were even whole rooms – such as Father's office, which was Out Of Bounds At All Times And No Exceptions – that he had barely been inside. However, the new house had only three floors: a top floor where all three bedrooms were and only one bathroom, a ground floor with a kitchen, a dining room and a new office for Father (which, he presumed, had the same restrictions as the old one), and a basement where the servants slept.

All around the house in Berlin were other streets of large houses, and when you walked towards the centre of town there were always people strolling along and stopping to chat to each other or rushing around and saying they had no time to stop, not today, not when they had a hundred and one things to do. There were shops with bright store fronts, and fruit and vegetable stalls with big trays piled high with cabbages, carrots, cauliflowers and corn. Some were overspilling with leeks and mushrooms, turnips and sprouts; others with lettuce and green beans, courgettes and parsnips. Sometimes he liked to stand in front of these stalls and close his eyes and breathe in their aromas, feeling his head grow dizzy with the mixed scents of sweetness and life. But there were no other streets around the new house, no one strolling along or rushing around, and definitely no shops or fruit and vegetable stalls. When he closed his eyes, everything around him just felt empty and cold, as if he was in the loneliest place in the world. The middle of nowhere.

In Berlin there had been tables set out on the street, and sometimes when he walked home from school with Karl, Daniel and Martin there would be men and women sitting at them, drinking frothy drinks and laughing loudly; the people who sat at these tables must be very funny people, he always thought, because it didn't matter what they said, somebody always laughed. But there was something about the new house that made Bruno think that no one ever laughed there; that there was nothing to laugh at and nothing to be happy about.

4). Well, if Father's job means that we have to move away from our house and the sliding banister and my three best friends for life, then I think Father should think twice about his job, don't you?'

5). She looked out of the window again at the huge area spread out before her and the distances that existed between each of the huts. 'This must be it. It's the countryside. Perhaps this is our holiday home,' she added hopefully.

6). It was on this final morning, when the house looked empty and not like their real home at all, that the very last things they owned were put into suitcases and an official car with redandblack flags on the front had stopped at their door to take them away.

Mother, Maria and Bruno were the last people to leave the house and it was Bruno's belief that Mother didn't realize the maid was still standing there, because as they took one last look around the empty hallway where they had spent so many happy times, the place where the Christmas tree stood in December, the place where the wet umbrellas were left in a stand during the winter months, the place where Bruno was supposed to leave his muddy shoes when he came in but never did, Mother had shaken her head and said something very strange.

'We should never have let the Fury come to dinner,' she said. 'Some people and their determination to get ahead.'

7). Bruno turned the door handle and stepped inside and assumed his customary pose of wideopen eyes, mouth in the shape of an O and arms stretched out by his sides. The rest of the house might have been a little dark and gloomy and hardly full of possibilities for exploration but this room was something else.

8). 'What do I think?' asked Bruno. 'What do I think of what?'

'Of your new home. Do you like it?'

'No,' said Bruno quickly, because he always tried to be honest and knew that if he hesitated even for a moment then he wouldn't have the nerve to say what he really thought. 'I think we should go home,' he added bravely. 'Well, we are home, Bruno,' he said finally in a gentle voice. 'OutWith is our new home.'

9). 'Come, come,' said Father, wanting to have none of that. 'Let's have none of that,' he said. 'A home is not a building or a street or a city or something so artificial as bricks and mortar. A home is where one's family is, isn't that right?'

10). 'Back in our house in Berlin there was a lot of exploring to be done,' recalled Bruno. 'But then, it was a very big house, bigger than you could possibly imagine, so there were a lot of places to explore. It's not the same here.'

11). And he still wished that he could go back home to Berlin, although the memories of that place were beginning to fade and, while he did mean to, it had been several weeks since he had even thought about sending another letter to Grandfather or Grandmother, let alone actually sitting down and writing one.

12). Bruno frowned and considered it. He wasn't entirely sure that Father had any land, because although the house in Berlin was a large and comfortable house, there wasn't very much garden space around it.

13). There was no point doing any exploring inside. After all, this wasn't like the house in Berlin, which he could just about remember had hundreds of nooks and crannies, and strange little rooms, not to mention five floors if you counted the basement and the little room at the top with the window he needed to stand on tiptoes to see through. No, this was a terrible house for exploration. If there was any to be done it would have to be done outside.

14). 'It's certainly not as nice as Berlin,' said Bruno. 'In Berlin we had a big house with five floors if you counted the basement and the little room at the top with the window. And there were lovely streets and shops and fruit and vegetable stalls and any number of cafes.

15). 'And Mama was taken away from us, and Papa and Josef and I were put into the huts over there and that's where we've been ever since.'

16). Bruno felt almost glad when they returned to OutWith. The house there had become his home now and he'd stopped worrying about the fact that it had only three floors rather than five, and it didn't bother him so much that the soldiers came and went as if they owned the place. It slowly dawned on him that things weren't too bad there after all, especially since he'd met Shmuel.

Приложение № 2

Символ окно

1). He made his way up the stairs slowly, holding onto the banister with one hand, and wondered whether the new house in the new place where the new job was would have as fine a banister to slide down as this one did. For the banister in this house stretched from the very top floor  just outside the little room where, if he stood on his tiptoes and held onto the frame of the window tightly, he could see right across Berlin  to the ground floor, just in front of the two enormous oak doors. And Bruno liked nothing better than to get on board the banister at the top floor and slide his way through the house, making whooshing sounds as he went.

2). He felt as if he was about to cry again but stopped himself, not wanting to look like a baby in front of Maria. He looked around the room without fully lifting his eyes up from the ground, trying to see whether there was anything of interest to be found. There wasn't. Or there didn't seem to be. But then one thing caught his eye. Over in the corner of the room opposite the door there was a window in the ceiling that stretched down into the wall, a little like the one on the top floor of the house in Berlin, only not so high. Bruno looked at it and thought that he might be able to see out without even having to stand on tiptoes.

3). Bruno looked around the room. There was a window here but Gretel's room was on the opposite side of the hall, facing his, and so looked in a totally different direction.

4). He continued to stroll and whistle and he continued not to look until he reached the window, which, by a stroke of luck, was also low enough for him to be able to see out of.

5). 'They're out there,' said Bruno, who had walked over to his own window again and was looking out of it. He didn't turn back to check that Gretel was in the room; he was too busy watching the children. For a few moments he forgot that she was even there.

6). It was a bright, sunny day that first afternoon at OutWith and the sun reappeared from behind a cloud just as Gretel looked through the window, but after a moment her eyes adjusted and the sun disappeared again and she saw exactly what Bruno had been talking about.

7). Gretel agreed. She didn't want to go on staring but it was very difficult to turn her eyes away. So far, all she had seen was the forest facing her own window, which looked a little dark but a good place for picnics if there was any sort of clearing further along it. But from this side of the house the view was very different.

'You see?' said Bruno from the corner of the room, feeling quietly pleased with himself because whatever it was that was out there  and whoever they were  he had seen it first and he could see it whenever he wanted because they were outside his bedroom window and not hers and therefore they belonged to him and he was the king of everything they surveyed and she was his lowly subject.

8). She looked out of the window again at the huge area spread out before her and the distances that existed between each of the huts.

9). Gretel opened her mouth to answer him but couldn't think of a suitable reply, so she looked out of the window again instead and peered around for them, but they were nowhere to be seen.

10). But she was still watching from the window and this time she wasn't looking at the flowers or the pavement or the bench with the plaque on it or the tall fence or the wooden telegraph poles or the barbed wire bales or the hard ground beyond them or the huts or the small buildings or the smoke stacks; instead she was looking at the people.

11). 'No, not them,' said Bruno. 'The people I see from my window. In the huts, in the distance. They're all dressed the same.'

12). 'Yes,' said Maria, standing up and walking over towards the window, the one through which Bruno could see all the way to the huts and the people in the distance.

13). There was no point doing any exploring inside. After all, this wasn't like the house in Berlin, which he could just about remember had hundreds of nooks and crannies, and strange little rooms, not to mention five floors if you counted the basement and the little room at the top with the window he needed to stand on tiptoes to see through. No, this was a terrible house for exploration. If there was any to be done it would have to be done outside.

For months now Bruno had been looking out of his bedroom window at the garden and the bench with the plaque on it, the tall fence and the wooden telegraph poles and all the other things he had written to Grandmother about in his most recent letter. And as often as he had watched the people, all the different kinds of people in their striped pyjamas, it had never really occurred to him to wonder what it was all about.

14). Leaving the house, Bruno went round the back and looked up towards his own bedroom window which, from down here, did not look quite so high any more. You could probably jump out of it and not do too much damage to yourself, he considered, although he couldn't imagine the circumstances in which he would try such an idiotic thing. Perhaps if the house were on fire and he was trapped in there, but even then it would seem risky.

15). The Fury and Eva stayed for the best part of two hours and neither Gretel nor Bruno were invited downstairs to say goodbye to them. Bruno watched them leave from his bedroom window and noticed that when they stepped towards their car, which he was impressed to see had a chauffeur, the Fury did not open the door for his companion but instead climbed in and started reading a newspaper, while she said goodbye once again to Mother and thanked her for the lovely dinner.

16). Once when Bruno was watching the camp from his bedroom window he saw a dog approach the fence and start barking loudly, and when Lieutenant Kotler heard it he marched right over to the dog and shot it. Then there was all that nonsense that Gretel came out with whenever he was around.

17). While he was there, Bruno realized he wasn't quite as small as he had been when he left because he could see over things that he couldn't see over before, and when they stayed in their old house he could look through the window on the top floor and see across Berlin without having to stand on tiptoes.

18). Mother, on the other hand, thinks this would be a good time for the three of you to return home and reopen the house, and when I think about it...' He paused for a moment and looked out of the window to his left  the window that led off to a view of the camp on the other side of the fence.

19). Bruno opened his mouth to speak but worried that he would get himself into trouble if he revealed too much. 'I can see them from my bedroom window,' he said finally. 'They're very far away of course, but it looks like there are hundreds. All wearing the striped pyjamas.'

20). 'I wish we'd got to play together,' said Bruno after a long pause. 'Just once. Just to remember.'

'So do I,' said Shmuel.

'We've been talking to each other for more than a year and we never got to play once. And do you know what else?' he added. 'All this time I've been watching where you live from out of my bedroom window and I've never even seen for myself what it's like.'

21). He watched out of the window during morning classes with Herr Liszt, but it showed no signs of slowing down then and even pounded noisily against the window. He watched during lunch from the kitchen, when it was definitely starting to ease off and there was even the hint of sunshine coming from behind a black cloud. He watched during history and geography lessons in the afternoon, when it reached its strongest force yet and threatened to knock the window in.

Приложение № 3

Символ зеркало

1). 'If you sort that lot out, you could put them in the chest of drawers over there,' she said, pointing towards an ugly chest that stood across the room beside a mirror that was covered in dust.

Приложение № 4

Символ стекло/стакан

1). 'We don't have the luxury of thinking,' said Mother, opening a box that contained the set of sixtyfour glasses that Grandfather and Grandmother had given her when she married Father. 'Some people make all the decisions for us.'

2). Mother smiled and put the glasses down carefully on the table. 'I have another phrase for you,' she said. 'It's that we have to make the best of a bad situation.'

3). He put his face to the glass and saw what was out there, and this time when his eyes opened wide and his mouth made the shape of an O, his hands stayed by his sides because something made him feel very cold and unsafe.

4). 'What on earth are you doing?' asked Bruno. 'They asked me to polish the glasses,' said Shmuel. 'They said they needed someone with tiny fingers.'

5). And when Bruno looked down he saw sixty four small glasses, the ones Mother used when she was having one of her medicinal sherries, sitting on the kitchen table, and beside them a bowl of warm soapy water and lots of paper napkins.

6). 'I'm very glad you're here,' he said, speaking with his mouth full. 'If only you didn't have to polish the glasses, I could show you my room.'

7). Bruno stared at him, feeling the atmosphere grow heavy, sensing Shmuel's shoulders sinking down as he reached for another glass and began polishing. Ignoring Bruno, Lieutenant Kotler marched over to Shmuel and glared at him.

8). 'What are you doing?' he shouted. 'Didn't I tell you to polish those glasses?' Shmuel nodded his head quickly and started to tremble a little as he picked up another napkin and dipped it in the water.

9). 'Do you know this boy?' repeated Kotler in a louder voice. 'Have you been talking to the prisoners?' 'I... he was here when I came in,' said Bruno. 'He was cleaning glasses.'

10). 'You will finish polishing all these glasses' said Lieutenant Kotler in a very quiet voice now, so quiet that Bruno almost couldn't hear him.

Приложение № 5

Символ свет

1). 'Well, I don't like the way we have to turn all the lights off at night now,' he admitted.

2). 'Well, it used to be very quiet there,' explained Bruno, who didn't like to talk about how things had changed. 'And I was able to read in bed at night. But now it's quite noisy sometimes, and scary, and we have to turn all the lights off when it starts to get dark.'

3). It started off nicely enough. There was a garden directly beneath Bruno's window. Quite a large one too, and full of flowers which grew in neat orderly sections in soil that looked as if it was tended very carefully by someone who knew that growing flowers in a place like this was something good that they could do, like putting a tiny candle of light in the corner of a huge castle on a misty moor on a dark winter's night.

Приложение № 6

Символ свеча

1). It started off nicely enough. There was a garden directly beneath Bruno's window. Quite a large one too, and full of flowers which grew in neat orderly sections in soil that looked as if it was tended very carefully by someone who knew that growing flowers in a place like this was something good that they could do, like putting a tiny candle of light in the corner of a huge castle on a misty moor on a dark winter's night.

Приложение № 7

Символ цветок

1). It started off nicely enough. There was a garden directly beneath Bruno's window. Quite a large one too, and full of flowers which grew in neat orderly sections in soil that looked as if it was tended very carefully by someone who knew that growing flowers in a place like this was something good that they could do, like putting a tiny candle of light in the corner of a huge castle on a misty moor on a dark winter's night.

Past the flowers there was a very pleasant pavement with a wooden bench on it, where Gretel could imagine sitting in the sunshine and reading a book.

2). About twenty feet further along from the garden and the flowers and the bench with the plaque on it, everything changed.

3). He sat down on the bed and for a moment wished that Gretel would sit down beside him and put her arm around him and tell him that it was all going to be all right and that sooner or later they'd get to like it here and they'd never want to go back to Berlin. But she was still watching from the window and this time she wasn't looking at the flowers or the pavement or the bench with the plaque on it or the tall fence or the wooden telegraph poles or the barbed wire bales or the hard ground beyond them or the huts or the small buildings or the smoke stacks; instead she was looking at the people.

Приложение № 8

Символ дождь

1). For several weeks the rain was on and off and on and off and Bruno and Shmuel did not see as much of each other as they would have liked.

2). The next day Friday was another wet day. When Bruno woke in the morning he looked out of his window and was disappointed to see the rain pouring down.

3). However, the clock was ticking and there was nothing he could do about it. And after all, it was only the morning and a lot could happen between then and the late afternoon, which was when the two boys always met. The rain would surely have stopped by then.

4). He looked up at the skies, and although they were still very dark he thought the day had probably had enough rain and he would be safe enough this afternoon.

5). 'Hello, Bruno,' he said when he saw his friend approaching.

'Hello, Shmuel,' said Bruno.

'I wasn't sure if we'd ever see each other again  with the rain and everything, I mean,' said Shmuel. 'I thought you might be kept indoors.'

6). Bruno looked up at the sky and it looked like it might rain again. 'I'm sorry, Shmuel,' he said eventually. 'I'm sorry we didn't find any evidence.'

7). Bruno frowned. He looked up at the sky, and as he did so there was another loud sound, this time the sound of thunder overhead, and just as quickly the sky seemed to grow even darker, almost black, and rain poured down even more heavily than it had in the morning.

8). Bruno raised an eyebrow, unable to understand the sense of all this, but he assumed that it had something to do with keeping the rain out and stopping people from catching colds.

9). A few days later Bruno woke up and for the first time in weeks it was raining heavily. It had started at some point during the night and Bruno even thought that it might have woken him up, but it was hard to tell because once he was awake there was no way of knowing how that had happened. As he ate his breakfast that morning, the rain continued. Through all the morning classes with Herr Liszt, the rain continued. While he ate his lunch, the rain continued. And while they finished another session of history and geography in the afternoon, the rain continued. This was bad news for it meant that he wouldn't be able to leave the house and meet Shmuel.

10). Bruno tried to return to his book, but he'd lost interest in it for now and stared out at the rain instead and wondered whether Shmuel, wherever he was, was thinking about him too and missing their conversations as much as he was.

Приложение № 9

Символ забор

1). About twenty feet further along from the garden and the flowers and the bench with the plaque on it, everything changed. There was a huge wire fence that ran along the length of the house and turned in at the top, extending further along in either direction, further than she could possibly see. The fence was very high, higher even than the house they were standing in, and there were huge wooden posts, like telegraph poles, dotted along it, holding it up. At the top of the fence enormous bales of barbed wire were tangled in spirals, and Gretel felt an unexpected pain inside her as she looked at the sharp spikes sticking out all the way round it.

There wasn't any grass after the fence; in fact there was no greenery anywhere to be seen in the distance.

2). That day he sat down with a pen and paper and told her how unhappy he was there and how much he wished he was back home in Berlin. He told her about the house and the garden and the bench with the plaque on it and the tall fence and the wooden telegraph poles and the barbedwire bales and the hard ground beyond them and the huts and the small buildings and the smoke stacks and the soldiers, but mostly he told her about the people living there and their striped pyjamas and cloth caps, and then he told her how much he missed her and he signed off his letter 'your loving grandson, Bruno'.

3). For months now Bruno had been looking out of his bedroom window at the garden and the bench with the plaque on it, the tall fence and the wooden telegraph poles and all the other things he had written to Grandmother about in his most recent letter.

4). What exactly was the difference? He wondered to himself. And who decided which people wore the striped pyjamas and which people wore the uniforms?

Of course sometimes the two groups mixed. He'd often seen the people from his side of the fence on the other side of the fence, and when he watched it was clear that they were in charge.

5). He looked as far to his right as he could see, and the tall fence seemed to carry on in the sunlight and he was glad that it did because it meant that he didn't know what was up ahead and he could walk and find out and that was what exploration was all about after all.

6). The one thing Bruno tried not to think about was that he had been told on countless occasions by both Mother and Father that he was not allowed to walk in this direction, that he was not allowed anywhere near the fence or the camp, and most particularly that exploration was banned at OutWith.

The walk along the fence took Bruno a lot longer than he expected; it seemed to stretch on and on for several miles. He walked and walked, and when he looked back the house that he was living in became smaller and smaller until it vanished from sight altogether. During all this time he never saw anyone anywhere close to the fence; nor did he find any doors to let him inside, and he started to despair that his exploration was going to be entirely unsuccessful. In fact although the fence continued as far as the eye could see, the huts and buildings and smoke stacks were disappearing in the distance behind him and the fence seemed to be separating him from nothing but open space.

Bruno slowed down when he saw the dot that became a speck that became a blob that became a figure that became a boy. Although there was a fence separating them, he knew that you could never be too careful with strangers and it was always best to approach them with caution.

7). He sat down on the ground on his side of the fence and crossed his legs like the little boy and wished that he had brought some chocolate with him or perhaps a pastry that they could share.

'I live in the house on this side of the fence,' said Bruno.

'Do you? I saw the house once, from a distance, but I didn't see you.'

'My room is on the first floor,' said Bruno. 'I can see right over the fence from there. I'm Bruno, by the way.'

8). Shmuel thought about this. 'So you're nine too,' he said.

'Yes. Isn't that strange?'

'Very strange,' said Shmuel. 'Because there may be dozens of Shmuels on this side of the fence but I don't think that I've ever met anyone with the same birthday as me before.'

9). Bruno frowned. He had hoped that Shmuel might have said no as it would give them something else in common. 'Close friends?' he asked.

'Well, not very close,' said Shmuel. 'But there are a lot of us  boys our age, I mean  on this side of the fence. We fight a lot of the time though. That's why I come out here. To be on my own.'

'It's so unfair,' said Bruno. 'I don't see why I have to be stuck over here on this side of the fence where there's no one to talk to and no one to play with and you get to have dozens of friends and are probably playing for hours every day. I'll have to speak to Father about it.'

10). Bruno thought about it. He wanted to phrase the question just right.

'Why are there so many people on that side of the fence?' he asked. 'And what are you all doing there?'

11). 'Are there many other boys over there?' asked Bruno.

'Hundreds,' said Shmuel.

Bruno's eyes opened wide. 'Hundreds?' he said, amazed. 'That's not fair at all. There's no one to play with on this side of the fence. Not a single person.'

12). 'Or I could come to you,' said Bruno. 'Perhaps I could come and meet your friends,' he added hopefully. He had hoped that Shmuel would suggest this himself but there didn't seem to be any sign of that.

'You're on the wrong side of the fence though,' said Shmuel.

13). However, with each day that passed he began to get used to being at OutWith and stopped feeling quite so unhappy about his new life. After all, it wasn't as if he had nobody to talk to any more. Every afternoon when classes were finished Bruno took the long walk along the fence and sat and talked with his new friend Shmuel until it was time to come home, and that had started to make up for all the times he had missed Berlin.

14). 'I don't think you realize just how many people live on this side of the fence,' said Shmuel. 'There are thousands of us.'

15). For several weeks after this Bruno continued to leave the house when Herr Liszt had gone home for the day and Mother was having one of her afternoon naps, and made the long trek along the fence to meet Shmuel, who almost every afternoon was waiting there for him, sitting crosslegged on the ground, staring at the dust beneath him.

16). Every day Bruno asked Shmuel whether he would be allowed to crawl underneath the wire so that they could play together on the other side of the fence, but every day Shmuel said no, it wasn't a good idea.

17). 'Well, I do too of course,' said Bruno. 'But it's a pity we can't do something more exciting from time to time. A bit of exploring, perhaps. Or a game of  football. We've never even seen each other without all this wire fencing in the way.'

18). ‘… Anyway, I'm not going to argue with you,' said Gretel, losing her patience already, for she had very little of it to begin with. 'What is it anyway? What do you want to know?' I want to know about the fence,' he said firmly, deciding that this was the most important thing to begin with. 'I want to know why it's there.'

'Bruno,' she said in a childish voice, as if this was the most obvious thing in the world, 'the fence isn't there to stop us from going over there. It's to stop them from coming over here.'

19). 'Jews,' said Bruno, testing the word out. He quite liked the way it sounded. 'Jews,' he repeated. 'All the people over that side of the fence are Jews.'

20). When he saw himself in the mirror Bruno couldn't help but think how much like Shmuel he looked now, and he wondered whether all the people on that side of the fence had lice as well and that was why all their heads were shaved too.

21). He paused for a moment and looked out of the window to his left  the window that led off to a view of the camp on the other side of the fence. 'When I think about it, perhaps she is right. Perhaps this is not a place for children.'

 'There are hundreds of children here,' said Bruno, without really thinking about his words before saying them. 'Only they're on the other side of the fence.'

22). The day after Father told Bruno that he would be returning to Berlin soon, Shmuel didn't arrive at the fence as usual.

23). But even from a distance he could see that his friend looked even more unhappy than usual, and when he got to the fence he didn't reach for the food with his usual eagerness.

24). 'I don't think that would be a good idea,' said Shmuel, which, to Bruno's disappointment, was not a flatout rejection of the offer.

'Why not?' he asked. 'Father is very knowledgeable about life on that side of the fence.'

25). Shmuel thought for a few moments and then reached down and put his hand under the fence and lifted it a little, to the height where a small boy, perhaps the size and shape of Bruno, could fit underneath.

26). 'But if I was caught I'd be in trouble,' said Bruno, who was sure Mother and Father would not approve.

'That's true,' said Shmuel, lowering the fence again and looking at the ground with tears in his eyes. I suppose I'll see you tomorrow to say goodbye then.'

27). Both boys went home in high spirits that afternoon. Bruno imagined a great adventure ahead and finally an opportunity to see what was really on the other side of the fence before he went back to Berlin  not to mention getting in a little serious exploration as well  and Shmuel saw a chance to get someone to help him in the search for his papa. All in all, it seemed like a very sensible plan and a good way to say goodbye.

28). Shmuel was waiting for Bruno when he arrived, and for the first time ever he wasn't sitting crosslegged on the ground and staring at the dust beneath him but standing, leaning against the fence.

29). Shmuel lifted the bottom of the fence off the ground and handed the outfit underneath to Bruno, being particularly careful not to let it touch the muddy ground below.

30). If it wasn't for the fact that Bruno was nowhere near as skinny as the boys on his side of the fence, and not quite so pale either, it would have been difficult to tell them apart.

Shmuel reached down and lifted the base of the fence, but it only lifted to a certain height and Bruno had no choice but to roll under it, getting his striped pyjamas completely covered in mud as he did so. He laughed when he looked down at himself. He had never been so filthy in all his life and it felt wonderful.

Shmuel smiled too and the two boys stood awkwardly together for a moment, unaccustomed to being on the same side of the fence.

31). Neither of them did hug each other though, and instead they began the walk away from the fence and towards the camp, a walk that Shmuel had done almost every day for a year now, when he had escaped the eyes of the soldiers and managed to get to that one part of OutWith that didn't seem to be guarded all the time, a place where he had been lucky enough to meet a friend like Bruno.

32). 'I think I ought to go home now,' said Bruno. 'Will you walk back to the fence with me?'

33). Several days later, after the soldiers had searched every part of the house and gone into all the local towns and villages with pictures of the little boy, one of them discovered the pile of clothes and the pair of boots that Bruno had left near the fence.

34). One day he formed a theory about what might have occurred and he went back to the place in the fence where the pile of clothes had been found a year before.

There was nothing particularly special about this place, or different, but then he did a little exploration of his own and discovered that the base of the fence here was not properly attached to the ground as it was everywhere else and that, when lifted, it left a gap large enough for a very small person (such as a little boy) to crawl underneath.

35). He had discovered something during his exploration, and now that he was finally talking to one of the people on the other side of the fence it seemed like a good idea to make the most of the opportunity.

36). Bruno was late arriving at the place in the fence where he met Shmuel every day, but as usual his new friend was sitting crosslegged on the ground waiting for him.

37). 'What are you doing here?' repeated Bruno, for although he still didn't quite understand what took place on the other side of the fence, there was something about the people from there that made him think they shouldn't be here in his house.

38). And when he said that, Shmuel smiled and nodded and Bruno knew that he was forgiven, and then Shmuel did something that he had never done before. He lifted the bottom of the fence up like he did whenever Bruno brought him food, but this time he reached his hand out and held it there, waiting until Bruno did the same, and then the two boys shook hands and smiled at each other.

39). Bruno started to think more and more about the two sides of the fence and the reason it was there in the first place. He considered speaking to Father or Mother about it but suspected that they would either be angry with him for mentioning it or tell him something unpleasant about Shmuel and his family, so instead he did something quite unusual.

Приложение № 10

Символ звезда

1). The boy was smaller than Bruno and was sitting on the ground with a forlorn expression. He wore the same striped pyjamas that all the other people on that side of the fence wore, and a striped cloth cap on his head. He wasn't wearing any shoes or socks and his feet were rather dirty. On his arm he wore an armband with a star on it.

2). 'And then one day things started to change,' he continued. 'I came home from school and my mother was making armbands for us from a special cloth and drawing a star on each one. Like this.' Using his finger he drew a design in the dusty ground beneath him.

'And every time we left the house, she told us we had to wear one of these armbands.'

'My father wears one too,' said Bruno. 'On his uniform. It's very nice. It's bright red with a blackandwhite design on it.' Using his finger he drew another design in the dusty ground on his side of the fence.

Приложение № 11

Символ кукла

1). She had a large collection of dolls positioned on shelves around her room that stared at Bruno when he went inside and followed him around, watching whatever he did. He was sure that if he went exploring in her room when she was out of the house, they would report back to her on everything he did.

2). He ran into Gretel's room without knocking and discovered her placing her civilization of dolls on various shelves around the room.

3). Bruno smiled and walked towards the door, indicating that Gretel should follow him. She gave out a deep sigh as she did so, stopping to put the doll on the bed but then changing her mind and picking it up and holding it close to her chest as she went into her brother's room, where she was nearly knocked over by Maria storming out of it holding something that closely resembled a dead mouse.

4). 'Well?' he said, turning round now and seeing his sister standing in the doorway, clutching the doll, her golden pigtails perfectly balanced on each shoulder, ripe for the pulling. 'Don't you want to see them?'

5). Gretel watched for another few moments before shivering and turning away. 'I'm going back to my room to arrange my dolls,' she said. 'The view is decidedly nicer from there.'

With that remark she walked away, returning across the hallway to her bedroom and closing the door behind her, but she didn't go back to arranging her dolls quite yet. Instead she sat down on the bed and a lot of things went through her head.

6). That afternoon Bruno lay on his bed with a book but found it hard to concentrate, and just then the Hopeless Case came in to see him. She didn't often come to Bruno's room, preferring to arrange and rearrange her collection of dolls constantly during her free time. However, something about the wet weather had put her off her game and she couldn't face playing it again just yet.

7). Isobel and Louise to play with; they may have been annoying girls but at least they were her friends. Here she had no one at all except her collection of lifeless dolls. Who knew how mad Gretel was after all? Perhaps she thought the dolls were talking to her.

8). 'Well, why don't you lie down and close your eyes and let your imaginary friend read it to you?' said Gretel, delighted with herself now because she had something on him and she wasn't going to let it drop in a hurry. 'Save you a job.'

'Maybe I should send him to throw all your dolls out of your window,' he said.

'You do and there'll be trouble,' said Gretel, and he knew that she meant it. 'Well, tell me this, Bruno. What do you and this imaginary friend of yours do together that makes him so special?'

9). And with that she flounced out of the room, and Bruno could hear her talking to her dolls in the room across the hall and scolding them for getting themselves into such a mess while her back was turned that she had no choice but to rearrange them and did they think she had nothing better to do with her time?

10). Gretel's room had changed quite considerably since the last time he had been there. For one thing there wasn't a single doll in sight. One afternoon a month or so earlier, around the time that Lieutenant Kotler had left OutWith, Gretel had decided that she didn't like dolls any more and had put them all into four large bags and thrown them away. In their place she had hung up maps of Europe that Father had given her, and every day she put little pins into them and moved the pins around constantly after consulting the daily newspaper.

11). Gretel returned to Berlin with Mother and spent a lot of time alone in her room crying, not because she had thrown her dolls away and not because she had left all her maps behind at OutWith, but because she missed Bruno so much.

Приложение № 12

Символ мышь

1). Bruno smiled and walked towards the door, indicating that Gretel should follow him. She gave out a deep sigh as she did so, stopping to put the doll on the bed but then changing her mind and picking it up and holding it close to her chest as she went into her brother's room, where she was nearly knocked over by Maria storming out of it holding something that closely resembled a dead mouse.

2). Bruno had read enough books about explorers to know that one could never be sure what one was going to find. Most of the time they came across something interesting that was just sitting there, minding its own business, waiting to be discovered (such as America). Other times they discovered something that was probably best left alone (like a dead mouse at the back of a cupboard).

Приложение № 13

Символ скамейка

1). Past the flowers there was a very pleasant pavement with a wooden bench on it, where Gretel could imagine sitting in the sunshine and reading a book. There was a plaque attached to the top of the bench but she couldn't read the inscription from this distance. The seat was turned to face the housewhich, usually, would be a strange thing to do but on this occasion she could understand why.

2). He sat down on the bed and for a moment wished that Gretel would sit down beside him and put her arm around him and tell him that it was all going to be all right and that sooner or later they'd get to like it here and they'd never want to go back to Berlin. But she was still watching from the window and this time she wasn't looking at the flowers or the pavement or the bench with the plaque on it or the tall fence or the wooden telegraph poles or the barbed wire bales or the hard ground beyond them or the huts or the small buildings or the smoke stacks; instead she was looking at the people.

3). That day he sat down with a pen and paper and told her how unhappy he was there and how much he wished he was back home in Berlin. He told her about the house and the garden and the bench with the plaque on it and the tall fence and the wooden telegraph poles and the barbedwire bales and the hard ground beyond them and the huts and the small buildings and the smoke stacks and the soldiers, but mostly he told her about the people living there and their striped pyjamas and cloth caps, and then he told her how much he missed her and he signed off his letter 'your loving grandson, Bruno'.

4). For months now Bruno had been looking out of his bedroom window at the garden and the bench with the plaque on it, the tall fence and the wooden telegraph poles and all the other things he had written to Grandmother about in his most recent letter.

5). Before heading off in that direction, though, there was one final thing to investigate and that was the bench. All these months he'd been looking at it and staring at the plaque from a distance and calling it 'the bench with the plaque', but he still had no idea what it said. Looking left and right to make sure that no one was coming, he ran over to it and squinted as he read the words. It was only a small bronze plaque and Bruno read it quietly to himself.

'Presented on the occasion of the opening of...' He hesitated. ''OutWith Camp,' he continued, stumbling over the name as usual. 'June nineteen forty.'

Приложение № 14

Символ пижама

1). And one final thought came into her brother's head as he watched the hundreds of people in the distance going about their business, and that was the fact that all of themthe small boys, the big boys, the fathers, the grandfathers, the uncles, the people who lived on their own on everybody's road but didn't seem to have any relatives at allwere wearing the same clothes as each other: a pair of grey striped pyjamas with a grey striped cap on their heads.

'How extraordinary,' he muttered, before turning away.

2). That day he sat down with a pen and paper and told her how unhappy he was there and how much he wished he was back home in Berlin. He told her about the house and the garden and the bench with the plaque on it and the tall fence and the wooden telegraph poles and the barbedwire bales and the hard ground beyond them and the huts and the small buildings and the smoke stacks and the soldiers, but mostly he told her about the people living there and their striped pyjamas and cloth caps, and then he told her how much he missed her and he signed off his letter 'your loving grandson, Bruno'.

3). And as often as he had watched the people, all the different kinds of people in their striped pyjamas, it had never really occurred to him to wonder what it was all about.

4). It was as if it were another city entirely, the people all living and working together side by side with the house where he lived. And were they really so different? All the people in the camp wore the same clothes, those pyjamas and their striped cloth caps too; and all the people who wandered through his house (with the exception of Mother, Gretel and him) wore uniforms of varying quality and decoration and caps and helmets with bright redandblack armbands and carried guns and always looked terribly stern, as if it was all very important really and no one should think otherwise.

5). What exactly was the difference? He wondered to himself. And who decided which people wore the striped pyjamas and which people wore the uniforms?

6). The pyjama people all jumped to attention whenever the soldiers approached and sometimes they fell to the ground and sometimes they didn't even get up and had to be carried away instead.

7). Father and Mother obviously enjoyed the company of the soldiersBruno could tell that. But they'd never once invited any of the striped pyjama people to dinner.

8). The boy was smaller than Bruno and was sitting on the ground with a forlorn expression. He wore the same striped pyjamas that all the other people on that side of the fence wore, and a striped cloth cap on his head.

9). One day Bruno asked why Shmuel and all the other people on that side of the fence wore the same striped pyjamas and cloth caps.

'That's what they gave us when we got here,' explained Shmuel. 'They took away our other clothes.'

'But don't you ever wake up in the morning and feel like wearing something different? There must be something else in your wardrobe.'

Shmuel blinked and opened his mouth to say something but then thought better of it.

'I don't even like stripes,' said Bruno, although this wasn't actually true. In fact he did like stripes and he felt increasingly fed up that he had to wear trousers and shirts and ties and shoes that were too tight for him when Shmuel and his friends got to wear striped pyjamas all day long.

10). Bruno opened his mouth to speak but worried that he would get himself into trouble if he revealed too much. 'I can see them from my bedroom window,' he said finally. 'They're very far away of course, but it looks like there are hundreds. All wearing the striped pyjamas.'

'The striped pyjamas, yes,' said Father, nodding his head. 'And you've been watching, have you?'

'Well, I've seen them,' said Bruno. 'I'm not sure if that's the same thing.'

11). On the third day, when Bruno arrived there was no one sitting crosslegged on the ground and he waited for ten minutes and was about to turn back for home, extremely worried that he would have to leave OutWith without seeing his friend again, when a dot in the distance became a speck and that became a blob and that became a figure and that in turn became the boy in the striped pyjamas.

12). 'Don't you remember that you said I looked like you?' he asked Shmuel 'Since I had my head shaved?'

'Only fatter,' conceded Shmuel.

'Well, if that's the case,' said Bruno, 'and if I had a pair of striped pyjamas too, then I could come over on a visit and no one would be any the wiser.'

13). 'Why not?' said Bruno. 'We'll take a walk around and see whether we can find any evidence. That's always wise when you're exploring. The only problem is getting a spare pair of striped pyjamas.'

14). 'Don't be late this time,' said Bruno, standing up and dusting himself down. 'And don't forget the striped pyjamas.'

15). Shmuel nodded and held out his hands to Bruno, who opened his mouth in delight. He was carrying a pair of striped pyjama bottoms, a striped pyjama top and a striped cloth cap exactly like the one he was wearing.

16). Shmuel turned round and Bruno took off his overcoat and placed it as gently as possible on the ground. Then he took off his shirt and shivered for a moment in the cold air before putting on the pyjama top.

17). Shmuel reached down and lifted the base of the fence, but it only lifted to a certain height and Bruno had no choice but to roll under it, getting his striped pyjamas completely covered in mud as he did so. He laughed when he looked down at himself. He had never been so filthy in all his life and it felt wonderful.

18). In fact everywhere he looked, all he could see was two different types of people: either happy, laughing, shouting soldiers in their uniforms or unhappy, crying people in their striped pyjamas, most of whom seemed to be staring into space as if they were actually asleep.

19). Bruno frowned but was relieved that all the people in striped pyjamas from this part of the camp were gathering together now, most of them being pushed together by the soldiers, so that he and Shmuel were hidden in the centre of them and couldn't be seen.

Приложение № 15

Символы в произведении Джона Бойна

«Мальчик в полосатой пижаме»

Приложение № 16

Положительная и отрицательная символика