Moral problems in the works of Rasputin. Moral problems in the works of V. Rasputin. “Moral problems in the works of V. Rasputin”

Moral quests occupy a significant place in the work of Valentin Rasputin. His works present this problem in all its breadth and versatility. The author himself is a deeply moral person, as evidenced by his active social life. The name of this writer can be found not only among fighters for the moral transformation of the fatherland, but also among fighters for the environment. In his story “Live and Remember,” the writer poses moral problems with the greatest severity. The work was written with the author’s deep knowledge of folk life and the psychology of the common man. The author puts his heroes in a difficult situation: a young guy, Andrei Guskov, fought honestly almost until the very end of the war, but in 1944 he ended up in a hospital and his life began to crack. He thought that a serious wound would free him from further service. Lying in the ward, he already imagined how he would return home, hug his family and his Nastena, and he was so sure of this that he did not even call his relatives to the hospital to see him. The news that he was being sent to the front again struck like a lightning strike. All his dreams and plans were destroyed in an instant. In moments of mental turmoil and despair, Andrei makes a fatal decision for himself, which turned his life and soul upside down, making him a different person. There are many examples in literature when circumstances turn out to be higher than the willpower of the heroes, but the image of Andrei is the most reliable and expressive. There is a feeling that the author personally knew this person. Imperceptibly, the writer blurs the lines between “good” and “bad” characters and does not judge them unambiguously. The more carefully you read the story, the more opportunities you have for understanding the moral state of the characters and analyzing their actions. In Rasputin's works, life is complex in that each situation contains countless facets and gradations. Andrei Guskov makes his choice: he decides to go home on his own, at least for one day. From this moment on, his life falls under the influence of completely different laws of existence, Andrei is carried along in the muddy stream of events like a sliver. He begins to understand that every day of such a life moves him away from normal, honest people and makes it impossible to return back. Fate famously begins to control a weak-willed person. The situation surrounding the heroes is uncomfortable. Andrey's meeting with Nastena takes place in a cold, unheated bathhouse. The author knows Russian folklore well and draws an unambiguous parallel: the bathhouse is a place where all kinds of evil spirits appear at night. This is how the theme of werewolves arises, which runs through the entire narrative. In the minds of the people, werewolves are associated with wolves. And Andrei learned to howl like a wolf, he does it so naturally that Nastena wonders if he is a real werewolf. Andrey is becoming more and more callous in soul. Becomes cruel, even with some manifestation of sadism. Having shot a roe deer; does not finish it off with a second shot, as all hunters do, but stands and carefully watches how the unfortunate animal suffers. “Just before the end, he lifted her up and looked into her eyes - they widened in response. He was waiting for the last, final movement in order to remember how it would be reflected in his eyes.” The type of blood seems to determine his further actions and words. “If you tell anyone, I’ll kill you.” “I have nothing to lose,” he tells his wife. Andrey quickly moves away from people. No matter what punishment he suffers, in the minds of his fellow villagers he will forever remain a werewolf, an inhuman. Werewolves are also popularly called undead. Undead means they live in a completely different dimension than people. But the author makes the hero painfully think: “What have I done wrong to fate that it has done this to me—what?” Andrey does not find an answer to his question. Each reader makes his own judgment. The hero himself is inclined to look for an excuse for his crime. He sees his salvation in his unborn child. His birth, Andrei thinks, is the finger of God indicating a return to normal human life, and he is wrong once again. Nastena and the unborn child die. This moment is the punishment with which higher powers can punish a person who has violated all moral laws. Andrei is doomed to a painful life. Nastena’s words: “Live and remember” will pound in his fevered brain until the end of his days. But this call “Live and Remember” is addressed not only to Andrei, but also to the residents of Atamanovka, to all people in general. Such tragedies always happen before people's eyes, but rarely does anyone dare to prevent them. People are afraid to be frank with loved ones. There are already laws in force here that constrain the moral impulses of innocent people. Nastena was afraid to even tell her friend that she had not sullied her human dignity in any way, but simply found herself between two fires.
She chooses a terrible way out of her situation - suicide. It seems that the author leads the reader to think about some kind of moral infection that is transmitted like a disease. After all, Nastena, by killing herself, kills the child within herself - this is a double sin. A third person, even if not yet born, is suffering. The infection of immorality also spreads to the residents of Atamanovka. They not only do not try to prevent the tragedy, but also contribute to its development and completion. A strong work of art on the theme of morality, such as V. Rasputin’s story “Live and Remember,” is always a step forward in the spiritual development of society. Such a work, by its very existence, is a barrier to lack of spirituality. The work of such a writer will help our contemporaries not to lose moral values. The work of Valentin Rasputin is often contrasted with “urban prose.” And his action almost always takes place in the village, and the main characters (more precisely, heroines) in most cases are “old old women”, and his sympathies are given not to the new, but to that ancient, primordial, irrevocably passes away. All this is true and not true. The critic A. Bocharov rightly noted that between the “urban” Yu. Trifonov and the “rural” V. Rasputin, despite all their differences, there is much in common. Both seek a person’s high morality, both are interested in the place of the individual in history. Both talk about the influence of past life on modern and future life, both do not accept individualists, “iron” supermen and characterless conformists who have forgotten about the higher purpose of man. In a word, both writers develop philosophical problems, although they do it in different ways. The plot of each story by V. Rasputin is connected with testing, choice, death. “The Last Term” talks about the dying days of the old woman Anna and her children gathered at the bedside of their dying mother. Death highlights the characters of all the characters, and first of all the old woman herself. In “Live and Remember,” the action moves to 1945, when the hero of the story, Andrei Guskov, did not want to die at the front, and he deserted. The writer’s focus is on moral and philosophical problems that faced both Andrei himself and, to an even greater extent, his wife Nastena. “Farewell to Matera” describes the flooding of the island, on which the old Siberian village is located, for the needs of the hydroelectric power station, and the last days of the old men and women who remained on it. Under these conditions, the question of the meaning of life, the relationship between morality and progress, death and immortality becomes more acute. In all three stories, V. Rasputin creates images of Russian women, bearers of the moral values ​​of the people, their philosophical worldview, literary successors of Sholokhov’s Ilyinichna and Solzhenitsyn’s Matrena, developing and enriching image of a rural righteous woman. All of them have an inherent feeling of enormous responsibility for what is happening, a feeling of guilt without guilt, an awareness of their unity with the world, both human and natural. In all the writer’s stories, old men and women, the bearers of people’s memory, are opposed by those who, using an expression from “Farewell to Matera,” can be called “seeders.” Looking closely at the contradictions of the modern world, Rasputin, like other “village” writers, sees the origins of lack of spirituality in social reality (a person has been deprived of the sense of master, made a cog, an executor of other people’s decisions). At the same time, the writer makes high demands on the individual himself. For him, individualism and neglect of such popular national values ​​as home, work, ancestors’ graves, and procreation are unacceptable. All these concepts acquire material embodiment in the writer’s prose and are described in a lyrical and poetic manner. From story to story, the tragedy of the author’s worldview intensifies in Rasputin’s work.

Work on literature
Morality in modern literature based on the work of V. Rasputin “The Deadline”.
The problem of morality has become especially relevant in our time. In our society, there is a need to talk and think about the changing human psychology, about the relationships between people, about the meaning of life that the heroes and heroines of novels and short stories so tirelessly and so painfully comprehend. Now at every step we encounter the loss of human qualities: conscience, duty, mercy, kindness.

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

The story “The Last Term,” which V. Rasputin himself called the main one of his books, touched on many moral problems and 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 question 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 left in her life is to see all her children before death and go to the next world with a clear conscience. Anna had many children. They all left, but fate wanted to bring them all together at a time when the mother was dying. Anna's children are typical representatives of modern society, busy people who have a family and a job, but for some reason remember their mother 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 nearby. And she, already with one foot in the next world, managed to find the strength to be reborn, to blossom, and all for the sake of her children. “Whether it happened by a miracle or not by a miracle, no one will say, only when she saw her children did the old woman begin to come to life.” 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 is only for the sake of appearances. And they all live only for decency. Don’t offend anyone, don’t scold anyone, don’t say too much - everything is for the sake of decency, so as not to be worse than others. Each of them, on difficult days for their mother, goes about their own business, and their mother’s condition worries them little. Mikhail and Ilya fell into drunkenness, Lyusya was walking, Varvara was solving her problems, and none of them thought of spending more time with their mother, talking to her, or just sitting next to her. All their care for their mother began and ended with “semolina porridge,” which they all rushed to cook. Everyone gave advice, criticized others, but no one did anything themselves. From the very first meeting of these people, arguments and swearing begin between them. Lyusya, 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 swearing, insults at each other and drunkenness. This is how the children saw off their mother on her last journey, this is how they took care of her, this is how they took care of her and loved her. They were not imbued with the mother’s state of mind, did not understand her, they only saw that she was getting better, that they had a family and work, and that they needed to return home as soon as possible. They couldn't even say goodbye to their mother properly. Her children missed the “last 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 relationships of a modern family and their shortcomings, which clearly manifest themselves 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, dear people, are mired in anger and envy. They care only about their interests, problems, only their own affairs. They don’t even find time for their loved ones. They didn’t find time for their mother, the dearest 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 working in 1969, was first published in the magazine "Our Contemporary", in issues 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 imparted 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, and published abroad - in Prague, Bucharest, Milan. The play "The Deadline" was staged in Moscow (at the Moscow Art Theater) and in Bulgaria. The fame brought to the writer by the first story was firmly established.

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

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“Forgive us, Lord, that we are weak,
slow-witted and soul-destroyed.
There is no question from a stone that it is a stone,
it will be asked of a person.”
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.” (View 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 authors of the film, 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 Tale of Igor’s Campaign”, etc.)

So, we found out that there are problems that have worried humanity 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 does V.G. raise? Rasputin in this work? (Slide 2)

III. Reporting the topic of the lesson, working with an epigraph

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

IV. Communicating Lesson Objectives to Students

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

• Let's analyze the episodes of the story and answer the problematic questions formulated at the beginning of the lesson.
• Let us characterize the heroes of the work and give them an assessment.
• Let's identify the features of the author's and speech characteristics in the story.

V. Learning new material

1. Conversation with students

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

Why does he think we, the readers, should know about this? (Maybe because the death of Matera is a time of testing for a person, characters and souls are laid bare and you can immediately see who is who?). 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 had not softened or been damaged over the years, and on occasion she knew how to stand up not only for herself.” In each of our settlements there has always been and is another one, or even two old women with a character under whose protection the weak are drawn and passive.” Rasputin)

Why didn’t Daria’s character soften or get damaged? Maybe because she always remembered her father’s behests? (About conscience p.446)

Watch a video about Daria's visit to a rural cemetery.

What worries Daria? Doesn't give her peace? What questions are bothering her?

(And now what? I can’t die in peace, that I abandoned you, that it’s in my life, not in anyone’s lifetime, our family will be cut off and carried away). Daria feels like she is part of a single chain of generations. It pains 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 saying these words, having just learned them, before they managed to forbid her to open them. The truth is in memory. He who has no memory has 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: how this act of Daria confirms her philosophy of life, comment on it.

Video “Farewell to the hut.”

Conclusion. (Slide 6) An illiterate village person, Grandma Daria thinks about what should concern all people in the world: what are we living for? How a person for whom generations have lived should feel. Daria understands that her mother’s previous army gave everything for her that is true in memory. She is sure: “He who has no memory has no life.”

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

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

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

(As the conversation progresses, the table will be filled in)

Working with a publication

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

How can you call 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 was not alone, they lost each other, and now there was no need for each other.” “We can say about people like Daria that they got used to each other and loved being together. Of course, life away from each other is of no interest to them. Besides, they loved their Matera too much. (on the slide after the table). At home you will have to continue working with publications by answering questions.

3. Analysis of the episode of the destruction of the cemetery (chapter 3), filling out the SLS.

In the scene of the destruction of the cemetery, we see a clash between the residents of Matera and the vandal workers. Select the necessary lines for dialogue without the author’s words in order to contrast the heroes of the story and separate them on different sides. (Students' answers)

That. we see that the author contrasts the workers with the villagers. In this regard, I would like to give an example of a statement by the critic Yu. Seleznev, who speaks of the earth as the land-Motherland and land-territory: “If land is a territory and nothing more, then the attitude towards it is appropriate.” The Motherland is being liberated. The territory is being captured. The owner of the land-territory is a conqueror, conqueror. About the land, which “belongs to everyone - who was before us and who will pass 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 and what will remain after him...”

Which of the heroes treats Matera as a land-Motherland, and who as a land-territory”? (During the conversation, the SLS is filled out) (Slide 8)

Our homeland, like our parents, is not chosen; it is given to us at birth and absorbed during 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, as we grow older and live our destiny, we add more and more regions 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 the word, what's behind the 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, slow-witted and ruined in soul. It doesn't matter to a stone that it is a stone, but to a person it does.

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

(People with power will be asked of them.)

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

(We recall the episode of wandering in the fog in search of Matera. As if the author is saying that these people are lost and do not know what they are doing).

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

Guys, look again at the topic of the lesson: “Current and eternal problems in the story by V.G. Rasputin “Farewell to Matera”. Today we talked about eternal problems. What are these problems? (students call them).

What does the word relevant mean? (Significant, important even now for us)

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

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, slow-witted and ruined in soul. It doesn't matter to a stone that it is a stone, but to a person it does.

Each of us will definitely be asked for all our deeds and actions.

VI. Summarizing

Rasputin is worried not only about the fate of the Siberian village, but also about the fate of the entire country, the entire people, he is worried about the loss of moral values, traditions, and memory. Despite the tragic ending of the story, moral victory remains with responsible people who bring goodness, preserve memory and support the fire of life in any conditions, under any trials.

VII. Homework

1. Write a miniature essay: “Memory and its moral manifestations in adolescence.”
2. Fill out the table “Symbols that help reveal the author’s intent.”
3. Continue working with publications by answering the questions (p. 2).

Once upon a time there was a saying: “Beauty will save the world.” There is a lot of beauty in nature and it is becoming more and more, but the beauty in souls disappears, it is replaced by emptiness, greed, and soullessness. Without moral principles, the meaning of life is not entirely clear and, perhaps, society degrades. Once upon a time there was a saying: “Beauty will save the world.” There is a lot of beauty in nature and it is becoming more and more, but the beauty in souls disappears, it is replaced by emptiness, greed, and soullessness. Without moral principles, the meaning of life is not entirely clear and, perhaps, society degrades. The world is on the verge of collapse, therefore morality is the primary task in educating young people, and indeed all humanity. The world is on the verge of collapse, therefore morality is the primary task in educating young people, and indeed all humanity. In our society, there is a need to talk and think about the relationships between people, about the meaning of life that the heroes and heroines of V. Rasputin’s stories and tales so painfully comprehend. Now at every step we encounter the loss of human qualities: conscience, duty, mercy, kindness. And in Rasputin’s works we find situations close to modern life, and they help us understand the complexity of this problem. In our society, there is a need to talk and think about the relationships between people, about the meaning of life that the heroes and heroines of V. Rasputin’s stories and tales so painfully comprehend. Now at every step we encounter the loss of human qualities: conscience, duty, mercy, kindness. And in Rasputin’s works we find situations close to modern life, and they help us understand the complexity of this problem. Moral. Relevant these days

What makes a person a writer is his childhood, the ability at an early age to see and feel everything that then gives him the right to put pen to paper. Education, books, life experience nurture and strengthen this gift in the future, but it should be born in childhood,” wrote Valentin Rasputin. What makes a person a writer is his childhood, the ability at an early age to see and feel everything that then gives him the right to take on pen. Education, books, life experience nurture and strengthen this gift in the future, but it should be born in childhood,” wrote Valentin Rasputin.

Russian writer Valentin Grigorievich Rasputin was born on March 15, 1937 in the lower reaches of the Angara River. He lived in difficult times. His entire childhood passed during the Great Patriotic War. It was during these years that his character began to take shape. Before his eyes, the country was rising from the ruins. And all this, willingly or unwillingly, was reflected in his works. They intertwine motifs of tragedy and the reality of everyday life, images of people who know how to live in harmony with themselves and their conscience. The writer in his works shows not only the outcome of life, but somehow prepares for it. According to him, life that is not confirmed by meaning is a random existence. Therefore, all the variety of images in Rasputin’s works is a consequence of the interesting and eventful life he lived! Russian writer Valentin Grigorievich Rasputin was born on March 15, 1937 in the lower reaches of the Angara River. He lived in difficult times. His entire childhood passed during the Great Patriotic War. It was during these years that his character began to take shape. Before his eyes, the country was rising from the ruins. And all this, willingly or unwillingly, was reflected in his works. They intertwine motifs of tragedy and the reality of everyday life, images of people who know how to live in harmony with themselves and their conscience. The writer in his works shows not only the outcome of life, but somehow prepares for it. According to him, life that is not confirmed by meaning is a random existence. Therefore, all the variety of images in Rasputin’s works is a consequence of the interesting and eventful life he lived!

Morality in works In the works of Valentin Rasputin, moral quests occupy a significant place. His works present this problem in all its breadth and versatility. The author himself is a deeply moral person, as evidenced by his active social life. Moral quests occupy a significant place in the work of Valentin Rasputin. His works present this problem in all its breadth and versatility. The author himself is a deeply moral person, as evidenced by his active social life. Rasputin is one of those writers whose work is addressed to man, to the depths of his consciousness and subconscious, to the values ​​that have been formed and preserved in people's life for centuries. In the 20th century These values ​​were under threat for various reasons. How to restore harmony with the world, find the meaning of life, understand what is happening to us? Rasputin reflects on these and other moral problems. Rasputin is one of those writers whose work is addressed to man, to the depths of his consciousness and subconscious, to the values ​​that have been formed and preserved in people's life for centuries. In the 20th century These values ​​were under threat for various reasons. How to restore harmony with the world, find the meaning of life, understand what is happening to us? Rasputin reflects on these and other moral problems.

French lessons Teacher, Lidia Mikhailovna, plays with her student for money. What is this: a crime or an act of kindness and mercy? There is no definite answer. Life poses much more complex problems than a person can solve. And there is only white and black, good and bad. The world is multicolored, there are many shades in it. Lidia Mikhailovna is an unusually kind and sympathetic person. She tried all honest ways to help her talented student. But he considers it humiliating for himself to accept help from the teacher, but does not refuse to earn money. And then Lidia Mikhailovna deliberately commits a crime from a pedagogical point of view, plays with him for money. She knows for sure that he will beat her, get his treasured ruble, and buy the milk that he so needs. So it turns out that this is not a crime at all, but a good deed. ! This story teaches people compassion. And the fact that one must not only sympathize with a person who is having a difficult time, but also help him as much as possible, at the same time without offending his pride. The teacher, Lidia Mikhailovna, plays with her student for money. What is this: a crime or an act of kindness and mercy? There is no definite answer. Life poses much more complex problems than a person can solve. And there is only white and black, good and bad. The world is multicolored, there are many shades in it. Lidia Mikhailovna is an unusually kind and sympathetic person. She tried all honest ways to help her talented student. But he considers it humiliating for himself to accept help from the teacher, but does not refuse to earn money. And then Lidia Mikhailovna deliberately commits a crime from a pedagogical point of view, plays with him for money. She knows for sure that he will beat her, get his treasured ruble, and buy the milk that he so needs. So it turns out that this is not a crime at all, but a good deed. ! This story teaches people compassion. And the fact that one must not only sympathize with a person who is having a difficult time, but also help him as much as possible, at the same time without offending his pride.

Deadline In this story, Rasputin exposed the vices of society. He raises such moral problems as: relationships within the family, respect for parents, and raised the question of conscience and honor. In this story, Rasputin exposed the vices of society. He raises such moral problems as: relationships within the family, respect for parents, and raised the question of conscience and honor.

In the story “The Last Term,” Rasputin vividly managed to convey the entire life path of a simple Russian woman. Not losing her dignity even when she was dying. She forgives everyone's offenses. Forgives his son Mikhail for his wrong lifestyle. Although her character is harsh, she feels joy at the sight of her children, who have not visited her for a long time, and pride appears in her gaze. She feels a feeling of tenderness and affection at the sight of her granddaughter and rejoices in the sun. She is not afraid of death at all. And only the desire to see her youngest daughter keeps her dying life alive. Having learned that her daughter will not come, the old woman understands that nothing is holding her back in this world anymore! And her own children, who did not believe her in her premonitions about her approaching death, leave her. And she dies in her sleep, feeling lonely and abandoned. All this makes my soul very, very painful for the woman who gave life to many people, who lived a difficult, hard life and was left alone in the last hours of her life. In the story “The Last Term,” Rasputin vividly managed to convey the entire life path of a simple Russian woman. Not losing her dignity even when she was dying. She forgives everyone's offenses. Forgives his son Mikhail for his wrong lifestyle. Although her character is harsh, she feels joy at the sight of her children, who have not visited her for a long time, and pride appears in her gaze. She feels a feeling of tenderness and affection at the sight of her granddaughter and rejoices in the sun. She is not afraid of death at all. And only the desire to see her youngest daughter keeps her dying life alive. Having learned that her daughter will not come, the old woman understands that nothing is holding her back in this world anymore! And her own children, who did not believe her in her premonitions about her approaching death, leave her. And she dies in her sleep, feeling lonely and abandoned. All this makes my soul very, very painful for the woman who gave life to many people, who lived a difficult, hard life and was left alone in the last hours of her life.

Live forever - love forever The title sets the leading theme of the story of love for everything around you. The work is about an important stage in the life of the main character, fifteen-year-old Sanya, the stage of growing up and realizing his place on earth. The story begins with the hero’s reflection on the deep meaning of the word “independence”, “to stand on your own two feet in life, without supports or prompts.” The title sets the leading theme of the story of love for everything around us. The work is about an important stage in the life of the main character, fifteen-year-old Sanya, the stage of growing up and realizing his place on earth. The story begins with the hero’s reflection on the deep meaning of the word “independence”, “to stand on your own two feet in life, without supports or prompts.”

He makes his first adult decision: “to be responsible for yourself in life.” The boy is burdened by parental care, and although there is no conflict between “fathers” and “children” in the work, there is a clear misunderstanding of each other. Sanya is offended by the attitude towards him as if he were small. Circumstances develop in such a way that the boy, who arrived in Baikal in August, was left completely alone (his grandmother went to see her sick daughter) and “gained an amazing ability to look back at this world.” He makes his first adult decision: “to be responsible for yourself in life.” The boy is burdened by parental care, and although there is no conflict between “fathers” and “children” in the work, there is a clear misunderstanding of each other. Sanya is offended by the attitude towards him as if he were small. Circumstances develop in such a way that the boy, who arrived in Baikal in August, was left completely alone (his grandmother went to see her sick daughter) and “gained an amazing ability to look back at this world.” Live forever - love forever

The event underlying the plot is the boy’s trip to pick up a dove, but the main thing in the story is not this side, but what happens in the hero’s soul and consciousness. It is through Sanya’s eyes that the reader sees the desolation of villages after the creation of the Irkutsk reservoir, and the beauty of the Baikal taiga, and the hidden virtues and vices of people. The trip to pick berries became for the hero a real discovery of the world, people, and himself. “Sanya’s first night in the taiga and what a night!” awakens in the teenager new, previously unknown feelings and the feeling “that he has been here.” The thought of an “originally” existing memory does not let go of the boy: “life is the memory of the path invested in a person from birth.” That is why the hero recognizes places he has never been to in reality, and sees “all the confusion and all the movement of the world, all its inexplicable beauty and passion.” However, the opportunity to find harmony with the world exists only where the human transformer has not yet invaded, such was the boy’s conclusion. Civilization destroys nature and changes people. This is how the story combines environmental and moral issues! The event underlying the plot is the boy’s trip to pick up a dove, but the main thing in the story is not this side, but what happens in the hero’s soul and consciousness. It is through Sanya’s eyes that the reader sees the desolation of villages after the creation of the Irkutsk reservoir, and the beauty of the Baikal taiga, and the hidden virtues and vices of people. The trip to pick berries became for the hero a real discovery of the world, people, and himself. “Sanya’s first night in the taiga and what a night!” awakens in the teenager new, previously unknown feelings and the feeling “that he has been here.” The thought of an “originally” existing memory does not let go of the boy: “life is the memory of the path invested in a person from birth.” That is why the hero recognizes places he has never been to in reality, and sees “all the confusion and all the movement of the world, all its inexplicable beauty and passion.” However, the opportunity to find harmony with the world exists only where the human transformer has not yet invaded, such was the boy’s conclusion. Civilization destroys nature and changes people. This is how the story combines environmental and moral issues! Live forever - love forever

Conclusion “The word must be brought to the light in order to see the grain of the original meaning in it.” “The word must be brought to the light to see the grain of the original meaning in it.” The Russian writer Valentin Rasputin, with civil frankness, raised the most pressing problems of the time and touched on its most painful points. Rasputin convincingly proved that the moral inferiority of an individual person inevitably leads to the destruction of the foundations of the life of the people. This is the cruel truth of Valentin Rasputin’s works for me. The Russian writer Valentin Rasputin, with civil frankness, raised the most pressing problems of the time and touched on its most painful points. Rasputin convincingly proved that the moral inferiority of an individual person inevitably leads to the destruction of the foundations of the life of the people. This is the cruel truth of Valentin Rasputin’s works for me.

It's one thing to have a mess around And it's quite another thing - a mess inside you

In 1966, the first collections of stories and essays by the writer, “Bonfires of New Cities” and “The Land Near the Sky,” were published. The first story by V. Rasputin "Money for Maria" was published in 1967 in the anthology “Angara” and brought the writer all-Union fame. Then came the stories: "Deadline"(1970), "Live and Remember"(1974), “Farewell to Matera” (1976), journalistic story “Fire” (1985). Valentin Grigorievich Rasputin was twice awarded the USSR State Prize (1977 and 1987).

Rasputin is also known as a master of storytelling. A masterpiece of this genre "French Lessons" was written in 1973. The story is largely autobiographical in nature - an adult, from the height of his civic, social maturity, mentally traces the steps of his ascent to knowledge, remembers how he - a village boy - at the age of eleven, in difficult post-war times, comes to the regional center in his fifties kilometers to go to school. The lesson of mercy, planted in his soul by his French teacher, will remain with him throughout his life and will bear fruit. That’s why the story begins with very succinct words about responsibility, about duty to teachers: “It’s strange, why do we, just like our parents, always feel guilty before teachers? And not for what happened at school, but for what happened to us after.” Into the loop “Live forever- century love" (Our Contemporary. 1982, No. 7) included stories “Natasha”, “What to tell the crow”, “Live forever”- love forever”, “I can’t”. In them, the writer carefully explores the psychology of relationships with loved ones. Shows increased interest in the intuitive, “natural” principles in a person.

In 2000, Rasputin was awarded the A.I. Solzhenitsyn Prize “For the poignant expression of poetry and tragedy of Russian life in fusion with Russian nature and speech, sincerity and chastity in the resurrection of good principles.” The founder of the prize, a Nobel laureate, introducing the prize laureate A. Solzhenitsyn, said: “In the mid-seventies, a quiet revolution took place in our country - a group of writers began to work as if no socialist realism existed. They began to be called villagers, but it would be more correct - moralists. The first of them is Valentin Rasputin.”

Already in the first stories, in the story "Money for Maria" The characteristic features of the writer’s creative style appeared - an attentive, thoughtful attitude towards his characters, deep psychologism, subtle observation, aphoristic language, humor. At the heart of the plot of the first story, the motif of the ancient Russian quest for truth was developed. Tractor driver Kuzma, the husband of a conscientious village saleswoman who was caught embezzling, collects money from fellow villagers to make up for the shortage. The writer confronts the characters in the story with an event that reveals their moral value. The current state of Russian conciliarity is subject to moral scrutiny. In the story, Rasputin expresses important thoughts in his ideological context about the preservation of traditions that are formed by the measured rural way of life: “All people come from there, from the village, only some earlier, others later, and some understand this, while others do not.<...>And human kindness, respect for elders, and hard work also come from the village.”

Tale "Deadline" became one of the canonical works of “village prose”. The story is based on the archetypal story of the breakdown of family ties. The process of dissolution, “dissolution of the peasant family,” alienation of family members from each other, from home, from the land on which they were born and raised, is interpreted by Rasputin as a deeply alarming situation. Old woman Anna says to her children before her death: “Don’t forget brother sister, sister brother. And come here too, our whole family is here.”

Rasputin’s story tells about the impossibility of happiness for a person contrary to tribal morality and the entire structure of the people’s consciousness. "Live and remember." The story is built on a conflict of cowardice, cruelty, extreme individualism, betrayal, - with one

on the other hand, and duty, conscience, morality - on the other, on the conflict of the worldviews of her heroes. The deep concept of the story lies in the inseparability of a person’s fate from the nation’s, in the responsibility of a person for his choice. The meaning of the title of the story is a reminder to a person to remember his duty - to be a Human on earth. “Live and remember,” the author says about this.

The story is recognized as Rasputin's artistic achievement "Farewell to Matera." In the story, Rasputin creates an image of people's life with its ethics, philosophy, and aesthetics. Through the lips of the heroine of the story, the old woman Daria, who personifies the people's character, the writer reproaches those who forget the past, calls for harmony between such eternal moral concepts as conscience, kindness, soul, mind, with the help of which a person is preserved as an individual. The story caused heated controversy. Thus, some participants in the discussion in the journal “Questions of Literature” criticized the author for the dominance of the feeling of dying; the attention of others was attracted by the richness of the socio-philosophical nature of the work, the writer’s ability to solve “eternal questions” of human existence and national life using local material, and his mastery in conveying Russian speech. (Discussion of V. Rasputin’s prose // Questions of Literature. 1977. No. 2. P. 37, 74).

The originality of the conflict in V. Rasputin’s story “Live and Remember”

It's sweet to live, it's scary to live, it's a shame to live...

Tale "Live and Remember" consists of 22 chapters, compositionally interconnected by common events, characters, and identification of the motives of their behavior.

The story immediately begins with the beginning of the conflict: “The winter of 1945, the last war year, was an orphan in these parts, but the Epiphany frosts took their toll and knocked off, as they should be over forty.<...>During the frosts, in the Guskovs’ bathhouse, located in the lower garden near the Angara, closer to the water, a loss occurred: a good, old-fashioned carpenter’s ax from Mikheich disappeared.” At the end of the work - in the 21st and 22nd chapters - the denouement is given. The second and third chapters represent an introductory part, an exposition; they depict the events that begin the unfolding of the plot narrative: “Be quiet, Nastena. It's me. Be quiet. Strong, hard hands grabbed her by the shoulders and pressed her to the bench. Nastena groaned from pain and fear. The voice was hoarse, rusty, but the inside of it remained the same, and Nastena recognized it.

You, Andrey?! God! Where did you come from?!".

Nastena recognizes the voice of her husband, so expected by her, and the harsh intonations that threaten her, heralding his appearance, will become the “last deadline” in her life, will put a clear boundary between her past life and her present. “From there. Be quiet.<...>No dog needs to know I'm here. If you tell someone, I'll kill you. I'll kill - I have nothing to lose. Remember that. I can get it from wherever you want. Now I have a firm hand on this, I won’t lose it.”

Andrei Guskov deserted after four years of war (“... he fought and fought, did not hide, did not cheat”), and after being wounded, after being hospitalized, at night, like a thief, he made his way to his native Atamanovka. He is convinced that if he returns to the front, he will definitely be killed. To Nastena’s question: “But how, how did you dare? It is not simple. How did you have the courage? - Guskov will say: “I couldn’t breathe - I wanted to see you so much.” Of course, he wouldn’t have run from there, from the front... It seemed like he was nearby. Where is it nearby? I drove and drove... to get to the part as soon as possible. I didn’t run with a purpose. Then I see: where are we tossing and turning? To death. It's better to die here. What to say now! The pig will find dirt.”

The character of a person who has entered the line of betrayal is psychologically developed in the story. The artistic authenticity of Guskov’s image lies in the fact that the writer does not depict him with only black colors: he fought, only at the end of the war “it became unbearable” - he became a deserter. But how, it turns out, is the thorny path of a person who has become an enemy, who has taken the path of betrayal. Guskov places his blame on fate and is spiritually destroyed as a result. He realizes everything that happened to him, gives a sober assessment of his behavior in a conversation with Nastena, and convinces her that he will soon disappear. V. Rasputin is gradually but systematically preparing a tragedy for the “bright soul” Nastena fi-

nal of the story, showing her internal torment, the feeling of guilt she feels, her honesty and inability to live by a lie, and the extreme individualism, cruelty of Guskov, an anti-hero, not a tragic hero.

The logic of the development of the artistic image of Guskov, who betrayed the Motherland in a difficult time for it, when (as this is convincingly seen in the story using the example of the residents of Atamanovka, the key moment is the return of front-line soldier Maxim Vologzhin, the fate of Pyotr Lukovnikov, “ten funerals in the hands of women, the rest are fighting") the entire Soviet people were ready to do anything to finish off the Nazis and liberate their native land, they blamed everything on fate and finally “went brutal.” While Guskov learns to howl like a wolf, explaining to himself his “truth” - “It will be useful to scare good people” (and the author emphasizes - “Guskov thought with malicious, vindictive pride), people from all over the village will gather in Maxim Vologzhin’s house to say thank you to a front-line soldier who was seriously wounded at the front. With what hope do they ask their fellow countryman about “will the war end soon?” - and they will hear the answer that they knew and expected to hear, that the Germans “will not turn away” a Russian soldier who has already reached Germany itself. “Now they’ll add pressure,” Maxim will say, “no, they won’t turn it around.” I’ll go back with one hand, one-legged, crippled people will go, but they won’t turn around, we won’t allow it. They ran into the wrong people." This mood is supported by all fellow villagers who were in the rear, but worked for the front, like Nastena Guskova, like the father of the deserter Andrei - Mikheich. Line by line, page by page Rasputin traces Guskov's mental mortification, his defection from the norms of human life are both his cruelty and meanness towards the dumb Tanya (“At Tanya’s he sat in stupor and fear all day, still planning to get up and move somewhere, in some direction, another one also sat there, and then and was completely stuck, deciding that it was better for him to wait until he was completely lost both at home and at the front"), which he simply uses and in a month, without saying goodbye, will run away, and cruelty towards his wife. Now Guskov will begin to steal fish from the holes, and not even out of a desire to eat, but simply to do a dirty trick on those who walk freely, not like a thief, on their land. The devastation of his soul is evidenced by his “fierce desire to set fire to the mill” - to do what he himself called “a dirty trick.”

Solving moral and philosophical questions traditional for Russian literature about fate, about will, about the social determination of action and behavior, V. Rasputin, first of all, considers a person responsible for his life.

In close connection with the image of Guskov, the image of Nastena is developed in the story. If Andrei blames fate, then Nastena blames herself: “Since you are to blame there, then I am to blame with you. We will answer together." The time when Andrei returns as a deserter and hides from people will be the “last deadline” for Nastena, who does not know how to lie, to live away from people, according to the principle that Andrei chose: “you yourself, no one else.” Responsibility for the man who became her husband does not give her the right to refuse him. Shame is a state that Nastena will constantly experience in front of her mother-in-law and father-in-law, in front of her friends, in front of the chairman of the collective farm, and, finally, in front of the child she carries within herself. “And the sin of his parents will go to him - a severe, heart-rending sin - where to go with it?! And he will not forgive, he will curse them - rightly so.”

The meaning of the story's title "Live and Remember"- this is a reminder to a person to remember his duty “to be a Man on earth.”

Nastya’s last hours and minutes, before she takes both herself and her unborn child’s life by tilting the boat and sinking to the bottom of the Angara, are filled with true tragedy. “I’m ashamed... why am I so heart-rendingly ashamed both in front of Andrei, and in front of people, and in front of myself! Where did she get the guilt for such shame? If Andrei deprives himself of connection with the world, with nature, then Nastena will feel her unity with the world until the last second: “Something in my soul also felt festive and sad, like listening to a drawn-out old song, when you listen and get lost whose voices these are.” - those who live now, or who lived a hundred, two hundred years ago.”

When Nastena washed ashore, and Mishka the farmhand wanted to bury her in the drowned cemetery, the women “interred among their own, just on the edge, near a rickety fence.”

Through the images of Nastena and Andrei, V. Rasputin tests the heroes on the path of life, not forgiving the smallest deviations from ethical standards.

The main idea of ​​the whole story is the inseparability of a person’s fate from the fate of the whole people, the responsibility of a person for his actions, for his choice.

Poetics and problematics of T. Tolstoy’s story “On the Golden