Moral problems of the works of Valentin Rasputin or Astafiev. “Moral problems of modern prose. All this proves once again that it is impossible to tear the people off the earth, from their roots, that such actions can be equated with a cruel murderer.

Valentin Rasputin is one of the most famous writers of our time, in whose work the most important place is
the problem of the relationship between man and nature.
The image of a "single reality", an ideal world-order, forcibly destroyed by man, is created by the author in
the story "Farewell to Matera",
written in the mid-seventies of the 20th century. The work appeared at a time when the process
destruction of the human connection with nature
Doy reached a critical point: as a result of the construction of artificial reservoirs,
fertile lands, projects for the transfer of northern rivers were developed, unpromising villages were destroyed.
Rasputin saw a deep connection between ecological and moral processes - the loss of the original
harmony, the destruction of ties between the ethical world of the individual and the Russian spiritual tradition. In Farewell to Matera, this
harmony is personified by the villagers, old people and old women, and above all, grandma Daria. Rasputin showed
the ideal world of nature and a person living in harmony with him, fulfilling his labor duty - preserving
memory of ancestors. Darya's father once left her a will:
white light, thrust into it that we were ... "These words largely determined her actions and relations with
people. The author develops in the story the motive of the "last term", the essence of which lies in the fact that every person
its presence in the world establishes a connection between the past, present and future. There are two
peace: righteous, which grandma Daria calls “here!
", - this is Matera, where everything is" familiar, habitable and beaten ", and the sinful world -" there "- the arsonists and a new
settlement Each of these worlds lives by its own laws. Mother's old people cannot accept life "there" where
“They forgot about the soul”, “they frayed” the conscience, “thinned out” the memory, but the “dead… will ask”.
The most important problem of the story is the expediency of human intervention in the natural world. "Which
at the cost? " It turns out that work, which from the point of view of the Christian
psychology is a benefactor, can become a destructive force. This thought arises in Paul's reasoning about
the fact that the new settlement was built somehow non-populously is “absurd”.
The construction of a hydroelectric power station, as a result of which the island of Matera will be flooded, the destruction of the cemetery, the burning of houses and
forests - all this is more like a war with the natural world, and not like its transformation.
everything that happens grandma Daria: "Today the light has broken in half." Old Daria is sure that lightness
with which people break all ties, the painlessness of growing with their native land, home, are integral
“Facilitated life” of people who are forgetful, indifferent and even cruel. Daria calls such people “sowing”.
V. Rasputin notes with bitterness that the feeling of kinship has been lost, the ancestral
memory, and therefore they do not understand the pain of old people who say goodbye to Matera as a living being.
The episode of the destruction of the cemetery, which the villagers rush to save-
one of the key in the story. For them, the cemetery is a world in which the
their ancestors must live. To wipe it off the face of the earth is a crime. Then the invisible thread will break,
connecting the world together. That is why ancient old women stand in the way of the bulldozer.
In the artistic concept of Rasputin, man is inseparable from the outside world - animal, vegetable,
space. If even one link of this unity is violated, the whole chain is broken, the world loses its harmony.
Matera's imminent death is the first to anticipate the owner of the island - a small animal that symbolizes, according to
the author's intention, nature as a whole. This image gives the story a special deep meaning. It allows
to see and hear what is hidden from a person: the farewell groans of the huts, the "breath of the growing grass", the hidden
the fuss of birdies - in a word, to feel the doom and imminent death of the village.
“What will be, will not be avoided,” the Boss resigned himself. And in his words - evidence of the helplessness of nature
in front of a person. "At what cost?"
beetle's grove from the flood zone department. " This question torments Daria, Ekaterina, Pavel and the author himself.
The story "Farewell to Matera" answers this question: at the cost of the loss of "natural harmony", the death of the righteous
the world. It (the world) drowns, is swallowed up by fog, is lost.
The finale of the piece is tragic: the old people remaining in Matera hear a melancholy howl - “the farewell voice
Master. ”Such a denouement is natural. It is defined by Rasputin's idea, and the idea is this: people without a soul and without
God (“in whom is the soul, in that is also God,” says grandma Daria) mindlessly transforming nature is carried out, the essence
which in violence against all living things. Destroying the harmonious world of nature, man is doomed to destroy himself.

Writing

The problem of morality has become especially urgent in our time. In our society, there is a need to talk and reflect on the changing human psychology, on relationships between people, on the meaning of life that the heroes and heroines of stories and stories so tirelessly and so painfully comprehend. Now at every step we meet the loss of human qualities: conscience, duty, mercy, kindness. In the works of Rasputin, we find situations close to modern life, and they help us understand the complexity of this problem. V. Rasputin's works consist of "living thoughts", and we must be able to understand them, if only because it is more important for us than for the writer himself, because the future of society and each person individually depends on us.

The story "The Last Term", which V. Rasputin himself called the main of his books, touched upon many moral problems, exposed the vices of society. In the work, V. Rasputin showed relationships within the family, raised the problem of respect for parents, which is very relevant in our time, revealed and showed the main wound of our time - alcoholism, raised the issue of conscience and honor, which affected every hero of the story. The main character of the story is the old woman Anna, who lived with her son Mikhail. She was eighty years old. The only goal that remained in her life is to see all her children before death and to go to the next world with a clear conscience. Anna had many children. They all parted, but fate was pleased to bring them all together at a time when the mother was dying. Anna's children are typical representatives of modern society, people who are busy, have a family, work, but remember their mother, for some reason very rarely. Their mother suffered greatly and missed them, and when the time came to die, only for their sake she stayed a few more days in this world and she would have lived as long as she wanted, if only they were there. And she, already with one foot in the next world, managed to find the strength to be reborn, flourish, and all for the sake of her children "Miraculously it happened or not miraculously, no one will say, just seeing her children, the old woman began to come to life." And what about them. And they solve their problems, and it seems that their mother does not really care, and if they are interested in her, it’s only for decency.

And they all live only for decency. Not to offend anyone, not to scold, not to say too much - everything is for decency, so that it is no worse than that of others. Each of them in difficult days for the mother goes about his business, and the state of the mother worries them little. Mikhail and Ilya are drunk, Lucy is walking, Varvara is solving her problems, and none of them came up with the idea of ​​giving her mother more time, talking to her, just sitting next to her. All their care for their mother began and ended with the "semolina", which they all rushed to cook. Everyone gave advice, criticized others, but no one did anything on their own. From the very first meeting of these people, arguments and swearing begin between them. Lucy, as if nothing had happened, sat down to sew a dress, the men got drunk, and Varvara was even afraid to stay with her mother. And so the days passed: constant arguments and abuse, resentment against each other and drunkenness. This is how the children saw off their mother on her last journey, so they took care of her, so they took care of her and loved her. They did not feel the mother's state of mind, did not understand her, they saw only that she was getting better, that they had a family and a job, and that they needed to return home as soon as possible. They could not even say goodbye to their mother properly. Her children missed the "deadline" to fix something, ask for forgiveness, just be together, because now they are unlikely to get together again.

In this story, Rasputin very well showed the relationship of the modern family and their shortcomings, which are clearly manifested at critical moments, revealed the moral problems of society, showed the callousness and selfishness of people, their loss of all respect and ordinary feelings of love for each other. They, native people, are mired in anger and envy. They are concerned only with their interests, problems, only their affairs. They do not find time even for close and dear people. They did not find time for the mother - the most dear person. For them, "I" comes first, and then everything else. Rasputin showed the impoverishment of morality of modern people and its consequences. The story "The Last Term", on which V. Rasputin began to work in 1969, was first published in the magazine "Our Contemporary", in numbers 7, 8 for 1970. She not only continued and developed the best traditions of Russian literature - primarily the traditions of Tolstoy and Dostoevsky - but also gave a new powerful impetus to the development of modern literature, giving it a high artistic and philosophical level.

The story was immediately published as a book in several publishing houses, was translated into other languages, published abroad - in Prague, Bucharest, Milan. The play "The Last Term" was staged in Moscow (at the Moscow Art Theater) and in Bulgaria. The fame brought to the writer by the first story was firmly fixed. The composition of any work of V. Rasputin, the selection of details, pictorial means help to see the image of the author - our contemporary, citizen and philosopher.

Valentin Rasputin is one of the most famous contemporary Russian writers. I have read many of his works, and they attracted me with their simplicity and sincerity. In my opinion, among the defining impressions of Rasputin's life, one of the strongest was the impression of ordinary Siberian women, especially old women. They were attracted by a lot: calm strength of character and inner dignity, dedication in difficult village work and the ability to understand and forgive others.

Such is Anna in the story The Last Term. The situation in the story is immediately posed: an eighty-year old woman dies. It seemed to me that the life introduced by Rasputin in his stories is always taken at the moment of a breakthrough in its natural course, when suddenly a great trouble looms inevitably. It seems as if the spirit of death hovers over the Rasputin heroes. The old tofamarka from the story And ten graves in the taiga practically thinks about death only. Aunt Natalya is ready for a date with death in the story Money for Maria. Young Leshka dies in the arms of friends (I forgot to ask Leshka ...). A boy accidentally dies from an old mine (There, on the edge of a ravine). Anna, in the story The Last Term, is not afraid to die, she is ready for this last step, for she is already tired, she feels that she has outlived herself to the very bottom, has boiled away to the last drop. All my life running, on my feet, in work, worries: children, a house, a vegetable garden, a field, a collective farm ... And now the time has come when there is absolutely no strength left, except to say goodbye to the children. Anna did not imagine how she could leave forever, without seeing them, without hearing her native voices at last. During her life, the old woman gave birth a lot, but now she has only five left alive. It so happened that at first death got into the habit of going to their family, like a ferret in a chicken coop, then the war began. The children dispersed, dispersed, they were strangers, and only the near death of their mother makes them come together after a long separation. In the face of death, not only the spiritual depth of a simple Russian peasant woman is revealed, but also the faces and characters of her children appear in a naked light.

I admire Anna's character. In my opinion, the unshakable foundations of truth and conscience have been preserved in it. There are more strings in the soul of an illiterate old woman than in the soul of her city children who have seen the world. There are also such heroes in Rasputin who, perhaps, have a little of these strings in their souls, but they sound strong and clear (for example, the old Tofamarka woman from the story Man from this World). Anna and, perhaps, to an even greater extent Daria from the story Money for Mary, for the wealth and sensitivity of spiritual life, for the mind and knowledge of a person, can withstand comparison with many heroes of world and Russian literature.

Take a look from the outside: a useless old woman is living out her life, she almost does not get up in recent years, why should she live any further But the writer describes her to us in such a way that we see how in these last, seemingly completely worthless years, months, days, hours For a minute, intense spiritual work goes on in it. Through her eyes, we see and appreciate her children. These are loving and pitying eyes, but they accurately notice the essence of the change. The face change is most clearly visible in the appearance of Ilya's eldest son: Next to his bare head, his face seemed untrue, drawn, as if Ilya had sold his own or lost at cards to a stranger. In it, the mother sometimes finds familiar features, then loses.

But the middle daughter Lusya became all urban, from head to toe, she was born from an old woman, and not from some city woman, probably by mistake, but then she still found her own. It seems to me that she has already been reborn to the last cell, as if she had neither childhood nor youth of the village. She is jarred by the manners and language of the village sister Varvara and brother Mikhail, their indelicacy. I remember one scene when Lucy was going to take a walk for her health in the fresh air. Before her eyes appeared a picture of the once native places, which painfully struck the woman: an abandoned, neglected land was spread out in front of her, everything that had once been well-groomed, put in an expedient order by the love work of human hands, now converged in one strange wide desolation. Lucy understands what plagued her with some kind of tacit long-standing guilt, for which she will have to answer. This is her fault: she has completely forgotten everything that was with her here. After all, she was given to know both the joyful dissolution in her native nature, and the daily example of a mother, who felt a deep kinship with all living things (it was not for nothing that Lyusa remembered the case when her mother affectionately, like a dear person, raised the horse Igrenka, hopelessly overwhelmed for plowing, completely exhausted), remembered it and the terrible consequences of national tragedies: split, struggle, war (an episode with a driven, brutalized Bandera).
Of all Anna's children, I liked Mikhail the most. He stayed in the village, and Anna is living out her life with him. Mikhail is simpler, rougher than her city children, more cones with pretensions are pouring on him, but in fact he is warmer and deeper than the others, not like Ilya, he rolls like a merry bun through life, trying not to touch any corners.

Magnificent in the story are two chapters about how, having bought two boxes of vodka for the supposed funeral, the brothers, overjoyed that their mother suddenly miraculously departed from death, began to drink them first alone, and then with their friend Stepan. Vodka is like an animated creature, and, as with an evil, capricious ruler, one must be able to handle it with the least losses for oneself: one must take it for fear, ... I don’t respect drinking it alone. She then, cholera, angrier. The highest moment in the lives of many, especially men, alas, has become a drink. Behind all the colorful scenes, behind the rogue stories of drunkards (here is the story of Stepan, who dodged his mother-in-law, made his way into the underground for moonshine), behind comical conversations (say, about the difference between a woman and a woman), a real social, popular evil arises. Mikhail said about the reasons for drunkenness: Life is now completely different, everything, read it, has changed, and they, these changes, demanded supplements from a person ... The body demanded a rest. It is not me who drinks, it is he who drinks. Let's return to the main character of the story. In my opinion, the old woman Anna embodied all the best sides of the primordially Siberian character and in the perseverance of the execution of everyday affairs, in firmness and pride. In the last chapters of the story, Rasputin completely focuses on his main character and the final segment of her life. Here the writer introduces us into the very depths of maternal feelings for the last, most beloved and closest child to her, daughter Tanchora. The old woman was waiting for her daughter's arrival, but she, unfortunately, did not come, and then something suddenly broke in the old woman, something burst with a short groan. Of all the children, again only Michael was able to understand what was happening with his mother, and he again took sin on his soul. Your Tanchora will not come, and there is nothing to wait for her. I repulsed her telegram so that I would not come, overpowering myself, he puts an end to it. It seems to me that this act of his cruel mercy is worth hundreds of unnecessary words.

Under the pressure of all misfortunes, Anna prayed: Lord, let me go, I will go. Let's go to mine my death, I'm ready. She imagined her death, mother mortal, as an ancient, haggard old woman. The Rasputin heroine foresees her own departure to a distant side with amazing poetic clarity, in all its stages and details.

Leaving, Anna remembers her children in those moments when they expressed all the best in themselves: young Ilya very seriously, with faith, accepts her mother's blessing before leaving for the front; Varvara, who grew up such a whiny, unhappy woman, is seen in early childhood digging a hole in the ground just to see what is in it, looking for what no one else knows in it, Lucy desperately, with all her being, rushes from the leaving steamer to meet her mother, leaving home; Mikhail, stunned by the birth of his first child, is suddenly pierced by the understanding of the unbreakable chain of generations in which he put on a new ring. And Anna remembered herself at the most wondrous moment of her life: She is not an old woman, she is still in girls, and everything around her is young, bright, beautiful. She wanders along the coast along a warm, steamy river after rain ... And so well, it is so good for her to live in this moment in the world, to look with her own eyes at its beauty, to be among the stormy and joyful action of eternal life that is in full swing head and sweet, agitated aching in my chest.

When Anna dies, the children literally leave her. Varvara, referring to the fact that she left the guys alone, leaves, while Lucy and Ilya do not explain the reasons for their flight. When the mother asks them to stay, her last request went unheard. In my opinion, this will not be in vain for Varvara, Ilya, or Lyusa. It seems to me that this was the last of the deadlines for them. Alas…

The old woman died in the night.

Thanks to the works of Rasputin, I was able to find answers to many questions. This writer has remained in my mind one of the best leading contemporary prose writers. Please do not pass by his books, remove from the shelf, ask in the library and read slowly, without rushing, thoughtfully.

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“Forgive us, Lord, that we are weak,
incomprehensible and ruined by the soul.
It will not be asked from a stone that it is a stone,
from the person it will be asked. "
V. G. Rasputin

I. Org. moment

II. Motivation

Guys, I want to remind you of watching and discussing the film "We are from the future." (Viewing short fragments).

When discussing this film, we all paid attention to the problems raised by its authors. Formulate them: (Slide 1)

These problems are raised by the filmmakers, our contemporaries. Tell me, have similar problems been raised in Russian classical literature? Give examples of works ("War and Peace", "The Captain's Daughter", "Taras Bulba", "The Word about Igor's Campaign", etc.)

So, we found out that there are problems that have worried mankind for centuries, these are the so-called "eternal" problems.

In the last lesson, we talked about the work of V.G. Rasputin, at home you read his story "Farewell to Matera." And what “eternal” problems are raised by V.G. Rasputin in this work? (Slide 2)

III. Message of the topic of the lesson, work with the epigraph

(Slide 4) The topic of our today's lesson is “Actual and eternal problems in the story of V.G. Rasputin's "Farewell to Matera." Look at the lesson epigraph. In the mouth of which of his hero does Rasputin put these words? (Daria)

IV. Communicating Lesson Objectives to Students

Today in the lesson we will not only talk about this heroine, (Slide 5) but also

• We will analyze the episodes of the story, we will answer the problematic questions formulated at the beginning of the lesson.
• Let's characterize the heroes of the work and give them an assessment.
• Let's reveal the peculiarities of the author's and speech characteristics in the story.

V. Learning new material

1. Conversation with students

The story shows a village in the last summer of its existence. Why did this time interest the writer?

Why does he think that we, the readers, should be aware of this? (Maybe because the death of Matera is a time of trials for a person, characters and souls are exposed and who is who is immediately visible?). Let's look at the images of the heroes of the work.

2. Analysis of the images of the story

How do we see Daria at the beginning of the story? Why are people drawn to her?

(“Daria had a character that over the years did not wither, did not damage, and on occasion knew how to stand up not only for herself.” In each of our settlements there has always been and is one, or even two old women with character, under whose protection the weak and passive. " Rasputin)

Why did Daria's character not soften, not damaged? Maybe because she always remembered her father's precepts? (About conscience p. 446)

Watching a video about Daria's visit to the rural cemetery.

What worries Daria? Doesn't give her rest? What questions torment her?

(And now what? I won't die in peace, that I gave up on you, that it is on mine, for no time will it chop off our family and carry it away). Daria feels that she is part of a single chain of generations. It hurts her that this chain might break.

(And who knows the truth about a person: why does he live? For the sake of life itself, for the sake of children, or for the sake of something else?). Daria can be called a folk philosopher: she seriously thinks about the meaning of human life, about its purpose.

(And it was already hard for Daria to believe that she was alive, it seemed that she was uttering these words, having just learned them, until they had time to forbid her to open them. The truth is in the memory. Those who have no memory have no life). She finds her life truth. She is in memory. He who has no memory has no life. And these are not just words for Daria. Now I invite you to watch another video, and while watching it, think about how this act of Daria confirms her philosophy of life, comment on it.

Video "Farewell to the hut".

Conclusion. (Slide 6) A rural illiterate person, grandma Daria thinks about what should bother all people in the world: what are we living for? What should a person feel for whom generations have lived. Daria understands that the previous mother's army gave her everything that is true in her memory. She is sure: "He who has no memory has no life."

b) Images of the heroes of the story who are not indifferent and indifferent to what is happening.

Which of the heroes of the work is close in views and beliefs to Daria? Why? Give examples from the text. (Baba Nastasya and grandfather Yegor, Ekaterina, Simka, Bogodul are similar in their views on life, on what is happening, Daria is close in spirit, since they are experiencing what is happening, feel responsibility for Matera before their ancestors; they are honest, hardworking; live by conscience).

And which of the heroes is opposed to Daria? Why? (Petruha, Klavka. They don't care where to live, they are not jarred by the fact that the huts built by their ancestors will burn down. The land cultivated for many generations will be flooded. They have no connection with the Motherland, with the past).

(In the course of the conversation, the table will be filled)

Working with publication

Open the second pages of your publications. Look at the speech and writing characteristics of the characters. What can you say about them?

How can you name people like Daria and people like Petrukha and Katerina? (Caring and indifferent) (Slide 7)

About people like Klavka and Petrukha Rasputin says: "People forgot that each of them is not alone, lost each other, and now there was no need for each other." - About the likes of Daria, we can say that they are used to each other, they loved to be together. Of course, for them, life away from each other is not of interest. Besides, they loved their Matera too much. (on the slide after the table). At home, you will continue to work with publications by answering questions.

3. Analysis of the episode of the ruin of the cemetery (Chapter 3), filling in the SLS.

In the scene of the destruction of the cemetery, we see the clash of the inhabitants of Matera with the vandal workers. Choose the necessary lines for dialogue without the words of the author, in order to oppose the heroes of the story and separate them on different sides. (Student responses)

That. we see that the author opposes the workers to the villagers. In this regard, I would like to give an example of the statement of the critic Y. Seleznev, who speaks of land as a land-homeland and land-territory: "If the land is only a territory, then the attitude to it is appropriate." The Motherland is liberated. The territory is being taken over. The master on the land-territory is the conqueror, the conqueror. About the land, which "belongs to everyone - who was before us, and who will pass away after us" you cannot say: "After us, even a flood ...". A person who sees only territory in the earth is not too interested in what came before him, what will remain after him ... ".

Which of the heroes treats Matera as the land-homeland, and who as the land-territory ”? (In the course of the conversation, the SLS is filled in) (Slide 8)

Homeland, like parents, is not chosen; it is given to us at birth and absorbed with childhood. For each of us, this is the center of the Earth, regardless of whether it is a large city or a small village somewhere in the tundra. Over the years, growing up and living our destiny, we add more and more new lands to the center, we can change our place of residence, but the center is still there, in our “small” homeland. It cannot be changed.

V. Rasputin. What's in a word, what's behind a word?

4. Returning to the epigraph and working with it.

(Slide 10) Let's remember the epigraph to our lesson today: Forgive us, Lord, that we are weak, incomprehensible and ruined by the soul. It will not be asked from a stone what it is, but from a person it will be asked.

I think you will agree with me that the inhabitants of Matera are innocent victims in this situation. Zhuk and Vorontsov are the performers. So who will be asked for these atrocities? Who is to blame for the tragedy of Matera and her inhabitants?

(People in positions of power will be asked of them).

Do these people understand what they are doing? How does the author himself assess their actions?

(We recall the episode of wandering in the fog in search of Matera. As if the author was saying that these people got lost and did not know what they were doing).

5. The question of the relevance of the problems raised by Rasputin.

Guys, look again at the topic of the lesson: “Actual and eternal problems in the story of V.G. Rasputin's "Farewell to Matera." We talked about eternal problems today. What are these problems? (students call them).

What does the word actual mean? (Significant, important and now for us)

And what topical problems does Rasputin raise in the story? (Environmental problems (environmental protection), problems of the “ecology of the soul”: it is important who each of us feels: a temporary worker who wants to grab a piece of life fatter, or a person who realizes himself as a link in an endless chain of generations). Do these problems concern us? How acute are the problems of environmental protection before us? (you can recall the episode with the falling asleep of our lake).

So the problems raised by Rasputin can rightfully be called both eternal and relevant? Once again I want to draw your attention to the epigraph to the lesson: Forgive us, Lord, that we are weak, incomprehensible and ruined by the soul. It will not be asked from a stone what it is, but from a person it will be asked.

For all our deeds and actions, each of us will certainly be asked.

Vi. Summarizing

Rasputin worries not only for the fate of the Siberian village, but also for the fate of the whole country, of the entire people, worries about the loss of moral values, traditions, and memory. Despite the tragic ending of the story, moral victory remains with people responsible, carrying good, keeping memory and maintaining the fire of life in any conditions, in any trials.

Vii. Homework

1. Write a miniature essay: "Memory and its moral manifestations in adolescence."
2. Fill in the table “Symbols helping to reveal the author's intention”.
3. Continue working with publications by answering the questions (page 2).

Literature work
Morality in modern literature based on the work of V. Rasputin "The Last Term".
The problem of morality has become especially urgent in our time. In our society, there is a need to talk and reflect on the changing human psychology, on relationships between people, on the meaning of life that the heroes and heroines of stories and stories so tirelessly and so painfully comprehend. Now at every step we meet the loss of human qualities: conscience, duty, mercy, kindness.

In the works of Rasputin, we find situations close to modern life, and they help us understand the complexity of this problem. V. Rasputin's works consist of "living thoughts", and we must be able to understand them, if only because it is more important for us than for the writer himself, because the future of society and each person individually depends on us.

The story "The Last Term", which V. Rasputin himself called the main of his books, touched upon many moral problems, exposed the vices of society. In the work, V. Rasputin showed relationships within the family, raised the problem of respect for parents, which is very relevant in our time, revealed and showed the main wound of our time - alcoholism, raised the issue of conscience and honor, which affected every hero of the story. The main character of the story is the old woman Anna, who lived with her son Mikhail. She was eighty years old. The only goal that remained in her life is to see all her children before death and to go to the next world with a clear conscience. Anna had many children. They all parted, but fate was pleased to bring them all together at a time when the mother was dying. Anna's children are typical representatives of modern society, people who are busy, have a family, work, but remember their mother, for some reason very rarely. Their mother suffered greatly and missed them, and when the time came to die, only for their sake she stayed a few more days in this world and she would have lived as long as she wanted, if only they were there. And she, already with one foot in the next world, managed to find the strength to be reborn, flourish, and all for the sake of her children. "Miraculously or not miraculously, no one will say, just seeing her children, the old woman began to come to life." And what are they? And they solve their problems, and it seems that their mother does not really care, and if they are interested in her, it’s only for decency. And they all live only for decency. Not to offend anyone, not to scold, not to say too much - everything is for decency, so that it is no worse than that of others. Each of them in difficult days for the mother goes about his business, and the state of the mother worries them little. Mikhail and Ilya are drunk, Lucy is walking, Varvara is solving her problems, and none of them came up with the idea of ​​giving her mother more time, talking to her, just sitting next to her. All their care for their mother began and ended with the "semolina", which they all rushed to cook. Everyone gave advice, criticized others, but no one did anything on their own. From the very first meeting of these people, arguments and swearing begin between them. Lucy, as if nothing had happened, sat down to sew a dress, the men got drunk, and Varvara was even afraid to stay with her mother. And so the days passed: constant arguments and abuse, resentment against each other and drunkenness. This is how the children saw off their mother on her last journey, so they took care of her, so they took care of her and loved her. They did not feel the mother's state of mind, did not understand her, they saw only that she was getting better, that they had a family and a job, and that they needed to return home as soon as possible. They could not even say goodbye to their mother properly. Her children missed the "deadline" to fix something, ask for forgiveness, just be together, because now they are unlikely to get together again. In this story, Rasputin very well showed the relationship of the modern family and their shortcomings, which are clearly manifested at critical moments, revealed the moral problems of society, showed the callousness and selfishness of people, their loss of all respect and ordinary feelings of love for each other. They, native people, are mired in anger and envy. They are concerned only with their interests, problems, only their affairs. They do not find time even for close and dear people. They did not find time for the mother - the most dear person. For them, "I" comes first, and then everything else. Rasputin showed the impoverishment of morality of modern people and its consequences.

The story "The Last Term", on which V. Rasputin began to work in 1969, was first published in the magazine "Our Contemporary", in numbers 7, 8 for 1970. She not only continued and developed the best traditions of Russian literature - primarily the traditions of Tolstoy and Dostoevsky - but also gave a new powerful impetus to the development of modern literature, giving it a high artistic and philosophical level. The story was immediately published as a book in several publishing houses, was translated into other languages, published abroad - in Prague, Bucharest, Milan. The play "The Last Term" was staged in Moscow (at the Moscow Art Theater) and in Bulgaria. The fame brought to the writer by the first story was firmly fixed.

The composition of any work of V. Rasputin, the selection of details, pictorial means help to see the image of the author - our contemporary, citizen and philosopher.

Lesson objectives:

Lesson equipment: portrait of V.G. Rasputin

Methodical techniques:

During the classes

I... Teacher's word

Valentin Grigorievich Rasputin (1937) - one of the recognized masters of "village prose", one of those who continue the traditions of Russian classical prose, primarily from the point of view of moral and philosophical problems. Rasputin explores the conflict between a wise world order, a wise attitude to the world and an unwise, fussy, thoughtless existence. In his stories "Money for Mary" (1967), "Deadline" (1970), "Live and Remember" (1975), "Farewell to Mother" (1976), "Fire" (1985), one can hear anxiety for the fate of the motherland. The writer is looking for ways to solve problems in the best features of the Russian national character, in patriarchy. Poetising the past, the writer sharply raises the problems of the present, asserting eternal values, calls for their preservation. In his works, there is pain for his country, for what is happening to it.

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“Lesson 4. Actual and eternal problems in the story of V.G. Rasputin "Farewell to Matera" "

Lesson 4. Actual and perennial problems

in the story by V.G. Rasputin "Farewell to Matera"

Lesson objectives: to give a brief overview of V.G. Rasputin, to pay attention to the variety of problems posed by the writer; to form a caring attitude to the problems of their country, a sense of responsibility for its fate.

Lesson equipment: portrait of V.G. Rasputin

Methodical techniques: lecture by the teacher; analytical conversation.

During the classes

I... Teacher's word

Valentin Grigorievich Rasputin (1937) - one of the recognized masters of "village prose", one of those who continue the traditions of Russian classical prose, primarily from the point of view of moral and philosophical problems. Rasputin explores the conflict between a wise world order, a wise attitude to the world and an unwise, fussy, thoughtless existence. In his stories "Money for Mary" (1967), "Deadline" (1970), "Live and Remember" (1975), "Farewell to Mother" (1976), "Fire" (1985), one can hear anxiety for the fate of the motherland. The writer is looking for ways to solve problems in the best features of the Russian national character, in patriarchy. Poetising the past, the writer sharply raises the problems of the present, asserting eternal values, calls for their preservation. In his works, there is pain for his country, for what is happening to it.

In the story "Farewell to Matera" Rasputin comes from an autobiographical fact: the village of Ust-Uda, Irkutsk region, where he was born, subsequently fell into the flood zone and disappeared. In the story, the writer reflected the general tendencies that are dangerous primarily from the point of view of the moral health of the nation.

II... Analytical conversation

What problems does Rasputin pose in the story "Farewell to Matera"?

(These are both eternal and contemporary problems. Now the problems of ecology are especially urgent. This applies not only to our country. All mankind is concerned about the question: what are the consequences of scientific and technological progress, civilization as a whole? The global problems raised by writers (not only V. Rasputin) are studied by scientists, taken into account by practitioners. Now it is already clear to everyone that the main task of mankind is to save life on earth. The problems of nature protection, environmental protection are inextricably linked with problems " ecology of the soul. ”It is important who each of us feels: a temporary worker who wants a fatter piece of life, or a person who realizes himself as a link in an endless chain of generations, who does not have the right to break this chain, who feels gratitude for what was done by past generations and is responsible for the future Therefore, the problems of the relationship between generations, the problems of preserving traditions, the search for the meaning of human relations are so important. facilities. Rasputin's story also poses the problems of contradictions between urban and rural structures, the problem of the relationship between the people and the authorities. The writer initially puts spiritual problems in the foreground, which inevitably entail material problems.)

What is the meaning of the conflict in Rasputin's story?

(The conflict in the story "Farewell to Mother" belongs to the category of eternal: it is a conflict of the old and the new. The laws of life are such that the new inevitably triumphs. Another question: how and at what cost? Sweeping away and destroying the old, at the cost of moral degradation or taking the best what is in the old, transforming it?

“New in the story set the goal of breaking in half the old age-old foundations of life. The beginning of this turning point was laid back in the years of the revolution. The revolution gave rights to people who, due to their striving for a new life, did not want and could not appreciate what had been created before them. The heirs "of the revolution, first of all, destroy, do injustice, show their shortsightedness and narrow-mindedness. According to a special decree, people are deprived of the houses built by their ancestors, goods acquired by labor, and the very opportunity to work on the land is deprived. Here the age-old Russian question of land is solved simply. It consists not in who should own the land, but in the fact that this land is simply taken out of economic circulation, destroyed. Thus, the conflict takes on a socio-historical meaning.)

How does the conflict develop in the story? What images are contrasted?

(The main heroine of the story is old Daria Pinigina, the patriarch of the village, who has a "strict and fair" character. The "weak and the suffering" are drawn to her, she personifies the truth of the people, she is the bearer of folk traditions, the memory of ancestors. Her house is the last stronghold of the "habitable" the world as opposed to the "fools, undead", which are carried by the peasants from outside. The peasants were sent to burn down the houses from which people have already been evicted, to destroy the trees, to solve the cemetery. They, strangers, do not regret what is dear to Daria. These people are just a blunt instrument, without pity, chopping at the living. Such is the chairman of the former "village council, and now the council in the new village." A good goal - the industrial development of the region, the construction of a power plant - is achieved at a price that is immoral to pay. badly hides behind words about the good of the people.)

What is the drama of the conflict?

(The drama of the conflict is that Daria, her loving, caring attitude towards Matera, is opposed by her own son and grandson - Pavel and Andrei. They move to the city, move away from the peasant way of life, indirectly participate in the destruction of his native village: Andrei is going to work at the power plant.)

What does Daria see the reasons for what is happening?

(The reasons for what is happening, according to Daria, with pain watching the destruction of Matera, lie in the human soul: the person is “confused, completely overplayed”, fancies himself the king of nature, thinks that he has ceased to be “small”, “christian”, he thinks too much of himself Daria's reasoning is only seemingly naive. They are expressed in simple words, but, in fact, very deep. She believes that God is silent, "tired of asking people," and evil spirits reigned on earth. "People, Daria reflects, have lost their conscience , but the main testament of great-grandfathers is “to have conscience and not to endure from conscience”.)

How is the moral ideal of a person embodied in the image of Daria?

(Daria is the embodiment of conscience, national morality, her keeper. For Daria, the value of the past is undeniable: she refuses to move from her native village, at least until the "graves" will not endure. She wants to take "graves ... native "To a new place, wants to save from blasphemous destruction not only the grave, but also the conscience itself. For her, the memory of her ancestors is sacred. Her words sound a wise aphorism:" Truth is in the memory. He who has no memory has no life. "

How is Daria's moral beauty shown?

(Rasputin shows the moral beauty of Daria through the attitude of people towards her. People come to her for advice, people are drawn to her for understanding, warmth. This is the image of a righteous woman, without whom "the village does not stand" (remember the heroine of Solzhenitsyn from the story "Matrenin's Dvor").)

Through what the image of Daria is revealed?

(The depth of the image of Daria is also revealed in communication with nature. The basis of the heroine's world outlook is the pantheism characteristic of the Russian man, the awareness of the inextricable, organic connection between man and nature.)

What is the role of Daria's speech?

(The speech characterization of the heroine occupies a large place in the story. These are Daria's reflections, and her monologues, and dialogues, which are gradually developing into a simple but harmonious system of people's views on life, ideas about life and a person's place in it.)

We read and comment on the key scenes that reveal the image of Daria: the scene at the cemetery, the argument with Andrey (chapter 14), the scene of farewell to the hut, to the House.

The teacher's word.

“I have always been attracted by the images of ordinary women, distinguished by selflessness, kindness, the ability to understand another” - this is how Rasputin wrote about his heroines. The strength of the characters of the writer's favorite heroes lies in wisdom, in the people's worldview, in people's morality. Such people set the tone, the intensity of the spiritual life of the people.

How is the philosophical plan of the conflict manifested in the story?

(A private conflict - the destruction of a village and an attempt to defend, save one's family, rises to the philosophical - the opposition of life and death, good and evil. This gives special tension to the action. Life desperately resists attempts to kill it: fields and meadows bring a bountiful harvest, they are full of living sounds - laughter, songs, chirping of mowers. Smells, sounds, colors become brighter, reflect the inner upsurge of the heroes. People who have long left their native village feel at home again, in their life ".)

(Rasputin uses one of the traditional symbols of life - a tree. The old larch - "royal larch" - is a symbol of the power of nature. Neither fire, nor an ax, nor a modern weapon - a chainsaw - can cope with it.

There are many traditional symbols in the story. However, sometimes they take on a new sound. The image of spring does not mark the beginning of blossoming, not awakening (“the greens flared on the ground and trees again, the first rains fell, swifts and swallows flew in”), but the last outburst of life, the end of “the endless series of Matera's days - after all, very soon Angara by the will of the power plant builders will flood the earth with water.

The image of the House is symbolic. He is depicted as spiritualized, alive, feeling. Before the inevitable fire, Daria cleans up the House, like a dead man is cleaned before a funeral: whitewash, washes, hangs clean curtains, stokes the stove, removes the corners with fir branches, prays all night, "humbly and humbly saying goodbye to the hut." The image of the Master is also connected with this image - the spirit, the house-house Matera. On the eve of the flooding, his farewell voice is heard. The tragic conclusion of the story is the feeling of the end of the world: the heroes who are the last on the island feel “inanimate”, thrown into a gaping void. " The feeling of otherworldlyness is reinforced by the image of the fog in which the island is hidden: There was only water and fog all around and nothing but water and fog. "

The main symbol appears to the reader already in the title. “Matera” is both the name of the village and the island on which it stands (this image is associated with both the Flood and Atlantis), and the image of mother earth, and the metaphorical name for Russia, the native country, where “from end to end ... there was enough ... and expanse, and wealth, and beauty, and savagery, and every creature in pairs. ")

III. We listen to messages on individual assignments(given in advance): image of fire (fire) - chapters 8, 18, 22; the image of "larch" - chapter 19; the image of the "Master" - chapter 6; image of water.

IV... Lesson summary

Rasputin worries not only for the fate of the Siberian village, but also for the fate of the whole country, of the entire people, worries about the loss of moral values, traditions, and memory. Heroes sometimes feel the meaninglessness of existence: “Why look for some special, higher truth and service, when the whole truth is that there’s no use from you now and there will be no later ...” But hope still prevails: “Life is for that she and life, in order to continue, it will carry everything and will be accepted everywhere, albeit on a bare stone and in a shaky quagmire ... "Life-affirming is the symbolic image of grain sprouting through the chaff," blackened straw. " A man, Rasputin believes, “cannot be angry,” he is “on the edge of a centuries-old wedge,” which “has no end”. The people, as the writer shows, demand "all the more impatient and furious" from each new generation, so that it does not "leave without hope and future" the entire "tribe" of people. Despite the tragic ending of the story (the ending is open), moral victory remains with people responsible, carrying good, keeping memory and maintaining the fire of life in any conditions, in any trials.

Additional questions:

1. After the release of the novel Farewell to Mater, the critic O. Salynsky wrote: “It is difficult to understand Rasputin when he also elevates the not great breadth of views of his heroes to dignity. After all, it is difficult for them to see a person in a person who lives not even beyond the distant lands, but only on the other side of the Angara ... selfishness that life ends on it ... Those who accept the move to a new place are portrayed as people by their nature, empty, immoral ... the truths that were revealed to Daria before the "end of the world" are quite trivial and are not folk wisdom, but her imitation ".

Do you agree with the critic's opinion? Where do you think he is right, and what are you willing to argue with? Justify your answer.

2. What role do semantic antitheses play in the story: Matera is a new village on the right bank of the Angara; old men and women - people - "sowing". Continue with a series of contrasts.

3. What is the role of the landscape in the story?

4. By what means is the image of the House created in the story? In what works of Russian literature does this image occur?

5. What do you see in common in the titles of Rasputin's works? What is the significance of the titles of his stories?