Exchange of the human soul based on the story of Trifonov. Composition based on the story "Exchange" by Y. Trifonov

Creating in his work the type of hero-intellectual, Yu.V. Trifonov convincingly shows both the ideal embodiment of this concept and the presence of a double hero, in which the pseudo-intellectual principle comes to the fore. Yuri Trifonov's story "Exchange" raises social psychological problems... It contains the idea of ​​the ruthlessness of life. The plot is based on household family history. The main character works learned about the serious illness of the mother. While Viktor Dmitriev was rushing to the doctors, his wife Lena found exchangers, although she had previously refused to live with her mother-in-law. "Mental inaccuracy", "mental defect", "underdevelopment of feelings" - this is how the author delicately designates the ability to achieve one's goal at any cost.

The girl tries to disguise her husband's feelings as filial, Lena convinces him that the exchange is necessary first of all for his mother herself. Lena has a compelling trump card: she does not need a room personally, but for her and Dmitriev's daughter, who sleeps and prepares lessons behind a screen in the same room with her parents.

The treacherous crackle of an ottoman is a symbol of everyday disorder in the story. By subtly manipulating the feelings of her husband, the woman moves step by step towards her goal. Yu.V. Trifonov convincingly shows the reader that the philistine, personified in the image of the Lukyanov family, is not at all a harmless phenomenon. It knows how to insist on its own and defend itself. It is no coincidence that after Viktor's conversation with Lena about the portrait, the immediate reaction of the entire Lukyanov clan follows: they gather and leave the Dmitrievs' dacha, where they were going to stay before. Then Lena puts on a whole performance, starting to slowly take her husband into her own hands. She makes Dmitriev call his mother-in-law and ask her to return.

The retrospective composition of the story is interesting. This technique helps Trifonov to trace the stages moral degradation Dmitriev, the process of his "olukianization". As the plot of the work develops, the conflict deepens. It turns out that once Ksenia Fedorovna, together with her son, studied foreign language... It was the cause that united them. When Lena appeared in Dmitriev's life, classes stopped. The son and mother began to drift away.

Another symbolic detail in the story is Lena's arms, with which she hugs her husband: at first she was light and cool, and after fourteen years of married life she began to put pressure on him with "considerable weight." Lena's mental uncleanliness is also manifested by a number of external repulsive details of her appearance (big belly, thick arms, skin with small pimples). Her fullness symbolizes the excess she is so passionate about possession. Stout Lena is contrasted with slender Tanya, Victor's former mistress. Unlike Lena, she is not able to twist her heart and, having fallen in love with Dmitriev, breaks up with her husband. Tanya is romantic, loves poetry, while Lena is dominated by everyday practicality. Victor himself is constantly accustomed to doing things differently from what he would like. He lives with Lena, thinking that Tanya would be his best wife. Dmitriev understands that it is not good to borrow money from Tanya, but then agrees.

Yu.V. Trifonov emphasizes that Dmitriev's worldview is typical of his contemporary era. It is no coincidence that Victor has the opportunity to look at his actions from the outside. For this, the image of Nevyadomsky is introduced into the story. This is a kind of doppelganger of Dmitriev - a man whom he will most likely turn into in a few years if he continues to "go on". Zherekhov, a colleague of Viktor's, tells him a story about Nevyadomsky, who managed to change his living space (move in with his mother-in-law) literally three days before the old woman's death. When telling the story, he not only does not condemn Alexei Kirillovich Nevyadomsky, but even envies him: he got a good apartment and is now growing tomatoes on the balcony. Tomatoes on the grave of Nevyadomsky's mother-in-law ... This image haunts Dmitriev, revealing to him all the ugliness of his act.

Dmitriev often thinks about the meaning of life. The thought of the mother's illness reinforces this contemplation. Ksenia Fedorovna is used to helping everyone (with shelter, advice, sympathy). Like Tanya, who long years loves Dmitriev, she does it disinterestedly. The mother-in-law, Vera Lazarevna, is opposed to the mother of Dmitry Ksenia Fedorovna in the story, whose worldview is permeated with distrust of all people, even those closest to them.

Having started a conversation about the history of one exchange, Yu.V. Trifonov gradually turns to criticism of the philistine as a whole. Dmitriev does not accidentally remember his father and his brothers. The hero's uncles were wealthy people by Soviet standards, and only Viktor's father helped the provincial relatives: "Mother believed that the wives, Maryanka and Raika, infected with petty bourgeois philistinism, were to blame for the quarrels and all the subsequent misfortunes of the brothers." Among colleagues Dmitriev Yu.V. Trifonov draws the image of Pasha Snitkin, who knows how to arrange everything in such a way that he is always helped. He so often manages to load the whole slave on someone that he even acquired the nickname: "S-world-in-Nitkin." Considering this image, Yu.V. Trifonov raises the problem of attitudes towards someone else's misfortune: Snitkin refuses to go on a business trip instead of Dmitriev, although his family problems (his daughter's transfer to music school) are not as important as Dmitriev's situation.

So, in the story there is a conversation about two breeds of people: "able to live" and "secretly proud of the noble inability." For some, the whole atmosphere sparkles, for others poverty and decay flourish.

Dmitriev all his life was drawn to people of the first category: he admired how Lena makes the necessary acquaintances, knows how to rebuff the insolent neighbor Dusya. Victor lived with Lena as if drugged. Only once did his sister Laura try to open his eyes to the fact that the efficiency of his wife, whom he admired so much, looks impudent and impudent in the eyes of his relatives. They were especially struck by the fact that Lena moved the portrait of her father from the middle room to the entrance. Alien and alien in spirit, the new relatives of Viktor's grandfather seemed to be. When Lena later cried at her grandfather's funeral and talked about how she loved him, it all looked like a fake.

As the plot develops, Lena's character deepens, and her grasp of life intensifies: “She gnawed into her desires like a bulldog. Such a pretty female bulldog with a short straw-colored haircut and always a pleasantly tanned, slightly swarthy face. She did not let go until desires - right in her teeth - were transformed into flesh. " Lena's goal in life is to make a career. She got a job at IMCOIN, where "two friends ideally arranged in this life" work. And Lena's father helps her husband get a job, and even in the place where Dmitriev's friend Lev was aiming.

Then it turns out that Victor once loved to draw, but did not fight for his dream, having cut himself off on the exam.

When Victor invites his mother to move in, she at first refuses and says that he has already made his exchange, and then unexpectedly agrees, obviously realizing that she is being invited not to live together, but simply to transfer the living space before her death.

Thus, the behavior of heroes in everyday situations becomes a kind of criterion for testing their mental qualities... The philistine-philistine Lukyanovskoe beginning in the story collides with the selfless views of the Russian intelligentsia, which dominated the Dmitriev family.

The protagonist of the story tries to act from a position of moral compromise. However, it is not possible to please his wife and mother at the same time, and then the hero chooses Lena. When Victor invites his mother to make an exchange, she replies that he has already made it. This refers to the moral exchange, the exchange of values ​​that the hero makes when entering new family.

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/ / / Moral issues in Trifonov's story "Exchange"

In Trifonov's story, among other problems, a moral issue is raised.

The mother of the protagonist Dmitriev was diagnosed with a malignant tumor. The man was very worried, even though the operation was successful and the woman's well-being improved.

However, his wife did not share the experience with him. All the thoughts of the woman were occupied by the "housing issue". She found a "decent" living space, and was preparing for a serious conversation with her husband.

During a conversation with Lena, Dmitriev did not support the idea of ​​an exchange. He was outraged by the cold calculation of his wife and her callousness in this situation. He condemned his wife for the lack of sympathy for the mother. The man believed that such behavior would be tactless and would not bring anything good. Moreover, the women did not get along with each other for a long time. And because of this, the issue of living together was not relevant. The couple that evening did not come to an understanding.

However, Lena's persistence still "broke" the man, and this was not the first time. Under her sensitive "guidance" he occupied new position, which was previously intended for his friend. Workplace was much more promising than the one occupied by Dmitriev at that time. Therefore, Lena's father, Lukyanov, after talking with his daughter, made every effort to ensure that his son-in-law was in a new workplace.

Lukyanovs could not stop anything on the way to achieving their goal. They were distinguished by their unscrupulousness and a certain composure. Therefore, the illness of the mother-in-law did not stop Lena, but, on the contrary, pushed her to action. While the husband was immersed in caring for the mother, the woman was looking for options for exchanging living space.

To all Dmitriev's reproaches, his wife had a weighty argument - she is trying not only for herself, but primarily for himself, and their joint daughter Natasha. After these words, the man gave up. He seriously began to think about what would actually be good if they began to live with their mother and made an exchange of housing.

With this thought in mind, he prepared for the most important conversation with his sister and Ksenia Fyodorovna herself. The man understood that women were unlikely to like this idea, despite the difficult situation.

Both Lena and her husband put their interests first. At the same time, Dmitriev finds an excuse for himself. But he sees right through the son. She condemns him for the fact that his son was "fooled" and gradually lost his human qualities.

The exchange that the son and daughter-in-law insisted on was made. The Dmitriev family moved into a room with Ksenia Fyodorovna, and the woman even felt better for a while. However, she was able to discern in her son those features that she despised in her daughter-in-law. For the woman, this was another shock. She realized that the exchange of housing was made not for the sake of her well-being and care, but only for the pragmatic reasons of the couple.

After the mother is gone, the son realizes that it is the long-awaited "exchange" that is the cause of her death. He and his wife made a cruel and, unfortunately, irreparable mistake, for which he will now have to pay alone.

Lesson 7. Moral issues

and artistic features

stories by Yu.V. Trifonov "Exchange"

Lesson objectives: to give an idea of ​​"urban" prose, short review its central themes; analysis of Trifonov's story "Exchange".

Methodical techniques: lecture; analytical conversation.

During the classes

I... Teacher's word

In the late 60s - 70s, a powerful layer of literature was defined, which began to be called "urban", "intellectual" and even "philosophical" prose. These names are also conditional, especially because they contain some kind of opposition to the "village" prose, which, it turns out, is devoid of intellectuality and philosophicality. But if the "village" prose looked for support in moral traditions, the foundations of folk life, investigated the consequences of a person's rupture with the earth, with the village "way", then "urban" prose is associated with the educational tradition, sources of opposition to catastrophic processes in social life she seeks in the subjective realm, in internal resources the man himself, the native city dweller. If in the "village" prose the inhabitants of the village and the city are opposed (and this is a traditional opposition for Russian history and culture), and this often constitutes a conflict of works, then urban prose is primarily interested in an urban person with a rather high educational and cultural level in his problems , a person who is more connected with the "book" culture - true or mass culture, than with folk culture. The conflict is not associated with the opposition village - city, nature - culture, but is transferred to the sphere of reflection, to the sphere of human experiences and problems associated with his existence in modern world.

Whether a person as a person is able to resist circumstances, change them, or a person himself gradually, imperceptibly and irreversibly changes under their influence - these questions are posed in the works of Yuri Trifonov, Yuri Dombrovsky, Daniil Granin, Arkady and Boris Strugatsky, Grigory Gorin and others. Writers often act not only and not so much as storytellers, but as researchers, experimenters, contemplating, doubting, analyzing. "Urban" prose explores the world through the prism of culture, philosophy, religion. Time, history is interpreted as development, movement of ideas, individual consciousnesses, each of which is significant and unique.

II. Analytical conversation

What are the roots of this approach to man, to personality in Russian literature?

(In many ways, this is a continuation of the traditions of Dostoevsky, who explored the life of ideas, the life of a person is not at the limit of possibilities, and he raised the question of the “boundaries of a person”.)

What do you know about Yu. V. Trifonov?

(One of the most prominent authors of "urban" prose is Yuri Valentinovich Trifonov (1925-1981). Soviet time he was not an outspoken dissident, but was an "outsider" for Soviet literature... Critics reproached him for writing "not about that", that his works were completely gloomy, that he was completely immersed in everyday life. Trifonov wrote about himself: "I write about death (" Exchange ") - they tell me that I write about everyday life, I write about love (" Another farewell "- they say that it is also about everyday life; I write about the breakup of the family (" Preliminary results "- again I hear about everyday life; I write about a person's struggle with mortal grief (" Another life "- again they say about everyday life.")

Why do you think the writer was accused of being immersed in everyday life? Is it really so?

What is the role of “everyday life” in the story “Exchange”?

(The very title of the story "Exchange", first of all, reveals the everyday, everyday situation of the hero - the situation of the exchange of an apartment. Indeed, the life of urban families, their daily problems occupy a significant place in the story. But this is only the first, superficial layer of the story. Life is the conditions of existence The seeming routine, familiarity, universality of this way of life is deceiving. critical situations... It is dangerous that a person changes under the influence of everyday life, gradually, imperceptibly for himself, everyday life provokes a person without an inner support, a core for actions, which the person himself is terrified with afterwards.)

What are the main events of the plot

What is the peculiarity of the composition of the story?

(The composition gradually reveals the process of the hero's moral betrayal. The sister and mother believed that “he had quietly betrayed them,” “he went crazy.” work, to his beloved woman, to a friend, to his family, and, finally, to his mother. At the same time, Victor “was tormented, amazed, puzzled, but then he got used to it. everyone is used to it. And he calmed down on the truth that there is nothing in life wiser and more valuable than peace, and it must be protected with all his might. ”Habit, calmness are the reasons for readiness to compromise.)

How Trifonov expands the scope of the narrative, moves from the description privacy to generalizations?

(The word invented by Victor's sister, Laura, - "to be fooled" - is already a generalization that very accurately conveys the essence of changes in a person. These changes concern not only one hero. and the treacherous conversation about the exchange. It seems to him that he must “think over something important, the last.” “Everything changed on the other side. it turned out that everything was oozing - finally and hopelessly. The second time the word has already been given without quotation marks, as a well-established concept. The hero thinks about these changes in about the same way as he thought about his family life: maybe it's not so bad? And if this happens to everything, even with the bank, with the river and with the grass, then maybe it’s natural and it should be so? ”No one, except the hero himself, can answer these questions. it should be - and calm down.)

What is the difference between the Dmitriev and Lukyanov family clans?

(Unlike the two life positions, two systems of values, spiritual and everyday, is the conflict of the story. The main bearer of the Dmitrievs' values ​​is their grandfather, Fyodor Nikolaevich. He is an old lawyer with a revolutionary past: "he sat in a fortress, exiled, fled abroad, worked in Switzerland, in Belgium, knew Vera Zasulich." Dmitriev recalls that "the old man was a stranger to any kind of lukyan, he simply did not understand many things." He could not understand how one should "be able to live", like Dmitriev's father-in-law, Lukyanov, therefore, in the eyes of the Lukyanov clan, Fedor Nikolaevich is a monster who does not understand anything in modern life.)

What is the meaning of the title of the story?

(Life changes only externally, people remain the same. Let us recall what Bulgakov's Woland says about this: “only the housing issue spoiled them.” Housing problem"Becomes a test for the hero Trifonov, a test that he does not stand and breaks down. Grandfather says: “Ksenia and I expected that something different would come out of you. Nothing terrible happened, of course. You are not a bad person. But not surprising either. "

"Olukyanivanie" destroys the hero not only morally, but also physically: after the exchange and the death of his mother, Dmitriev had a hypertensive crisis, and he spent three weeks at home in strict bed rest. " The hero becomes different: he is not an old man, but an old man with limp cheeks. "

A terminally ill mother says to Dmitriev: “You have already exchanged, Vitya. The exchange took place ... It was a long time ago. And it always happens, every day, so don't be surprised, Vitya. And don't be angry. Just so imperceptibly ... "

At the end of the story is a list of legal documents required for the exchange. Their dry, businesslike, official language emphasizes the tragedy of what happened. Phrases about a favorable decision regarding the exchange and about the death of Ksenia Fedorovna stand side by side. The exchange of values ​​took place.)

Homework (by groups):

To present the work of young poets of the 60s: A. Voznesensky, R. Rozhdestvensky, E. Evtushenko, B. Akhmadulina.

Material for a lesson-seminar on the story "Exchange"

1. Yuri Trifonov recalled how in the 60s the story “Eternal Themes” was returned to him from the editorial staff of Novy Mir because the editor of the magazine (A. T. Tvardovsky) “was deeply convinced that eternal themes there is a lot of some other literature - perhaps also necessary, but somewhat irresponsible and, as it were, lower in rank than the literature he edited. "

What do "eternal themes" mean in literature?

Are there "eternal themes" in the story "Exchange"? What are they?

Are the "Exchange" themes "inferior in rank" in comparison to the heroic-patriotic themes?

2. “The hero of Trifonov is, like the writer himself, an urban man, intelligent, difficult, if not tragic, survived the Stalinist times. If he himself did not sit, was not in the Gulag, so almost by accident he put someone there, if he is alive, then he does not know whether to rejoice at this circumstance or be upset. At the same time, all these people, more or less, but sincerely inclined to analyze both their past and present, and for this very reason they hardly fit, if not at all, do not fit into the reality around them, into so insincere Soviet society ”( S. Zalygin).

Is the characterization given by S. Zalygin suitable for the heroes of the story "Exchange"?

Do the heroes have a pronounced attitude towards the Gulag?

Which of the heroes of the story is most inclined to "analyze" both his past and his present? What are the implications of this analysis?

3. “Life for Trifonov is not a threat to morality, but the sphere of its manifestation. Leading his heroes through the test of everyday life, the test of everyday life, he reveals the not always perceptible connection of everyday life with the high, ideal, exposes layer after layer of the entire multi-component nature of a person, all the complexity of influences environment"(A. G. Bocharov, G. A. Belaya).

How is everyday life depicted in the story "Exchange"?

Does Trifonov conduct his heroes “through the test of everyday life, the test of everyday life”? How is this test present in the story?

What is high, ideal in "Exchange"? Is there a connection between the everyday life depicted in the story and the lofty, ideal?

4. Literary critics A. G. Bocharov and G. A. Belaya write about Trifonov: “He looks at people, at their daily life not haughtily, not from the heights of distant abstraction, but with understanding and sympathy. But at the same time, he does not forgive humanistically demanding those "trifles" that usually disappear with a generalized, enthusiastic look at a person. "

Is there really no generalized enthusiastic attitude in Trifonov's view of the heroes of the story? What "little things" in the behavior and characters of the characters does the writer describe? What is his attitude to these "little things"?

5. Literary critic V. G. Vozdvizhensky writes about the story "Exchange": "The writer traces persuasively, visibly, with a full measure of author's condemnation, as ordinary" micro concessions "," micro agreements "," micro offenses ", gradually accumulating, can ultimately lead to the loss of the truly human in man, because nothing arises suddenly, out of nowhere. "

What “micro-concessions”, “micro-agreements”, “micro-offenses” of his hero does the writer represent? How is the "full measure of condemnation" of these "micro-actions" manifested?

What is the meaning of adding the word “micro” to the words “concessions”, “agreements”, “misdemeanors”? Is it possible to use them to characterize the behavior of the hero of the story without her?

Identify the main stages of creating a picture of the loss of "truly human in man" in the story "Exchange".

6. “Yu. Trifonov, one might say, is not chasing goodie, but behind a positive ideal and, accordingly, denounces not so much the deliberately "negative characters" as the qualities of the human soul that hinder the complete victory of the human "(VT Vozdvizhensky).

Try to divide the characters of the "Exchange" into positive and negative. Did you manage it?

How the moment of conviction manifests itself negative characters in the author's narration?

7. S. Zalygin notes: “Yes, Trifonov was a classic writer of everyday life ... I don’t know any other equally meticulous urban writer. There were already enough rural writers at that time, but urban ones ... he was the only one at that time. "

What does "everyday life" mean in literature? What is characteristic of such literature?

Why does the story "Exchange" not go beyond pure "everyday writing"?

Is the definition of "urban" in relation to Yuri Trifonov only an indication of the place of action of his work or something more?

8. Yu. Trifonov said: “What is everyday life? Dry cleaners, hairdressers ... Yes, this is called everyday life. But also family life- also everyday life ... And the birth of a person, and the death of old people, and diseases, and weddings are also everyday life. And the relationship of friends at work, love, quarrels, jealousy, envy - all this is also everyday life. But this is what life consists of! "

Does the story "Exchange" really show everyday life exactly as Trifonov himself writes about it?

How are “love, quarrels, jealousy, envy,” etc. presented and what role do they play in the story?

Why is everyday life depicted in the story "Exchange"?

9. Critic S. Kostyrko believes that in the case of Yuri Trifonov "we are faced with the development of an image that is directly opposite to the conditions of censorship." The critic recalls the "characteristic" for the writer of the beginning of the story "Exchange" and notes: the limitations of a specific fact, phenomenon - to the vastness of its meanings, to the freedom of its artistic comprehension ”.

What is the origin of the story "Exchange"? Why in this beginning it comes about a private social fact?

Do the “themes eternal for art” pass through the image at the center of the narrative? What "eternal" themes does the writer associate with "exchange"?

How is the “boundlessness of meanings” manifested in the fact of exchange?

10. American writer John Updike in 1978 wrote about Yuri Trifonov's Moscow Tales: “The typical Trifonov hero considers himself a failure, and the surrounding society does not dissuade him of this. This communist society makes itself felt by the bonds of rules and interdependence, allowing maneuverability within certain limited limits, affects the "tightness in the chest" and "unbearable anxious itching" ... The heroes and heroines of Trifonova derive their courage not from the officially proclaimed hope, but from bestial vitality person. "

What is the reason for the idea of ​​some of the heroes of the story about themselves as losers?

What is the society that surrounds the heroes of the story "Exchange"? Does this society of heroes bind "the bonds of rules and interdependence"? How is this shown in the story?

How is the “animal vitality of man” manifested in the heroes of the story "Exchange"?

11. Literary critic N. Kolesnikova (USA) noted that “Trifonov looks at his heroes from the inside rather than from the outside ... he refuses to pass an open judgment on them, but simply portrays the heroes as they are, leaving the reader to draw conclusions ... Trifonov's stories are that they show the complexity of human nature, without dividing people into good or bad, altruists or egoists, smart or stupid. "

How does Y. Trifonov's display of heroes “rather from the inside than from the outside” appear in the text?

Is it true that the writer refuses to pass open judgment on his heroes? Are the heroes of the "Exchange" doing any deeds worthy of being sentenced?

Does The Exchange really show the "complexity" of human nature without dividing people into "good or bad"?

12. Literary critic AI Ovcharenko writes about one category of heroes of Yuri Trifonov: “... they are assertive, tenacious, resourceful, unceremonious in the means of achieving the set goal. And merciless. Talent, conscience, honor, principles - everything, both their own and someone else's, will be given away by them for good luck, which most often turns into material and spiritual comfort. "

Are there among the heroes of the "Exchange" those that the critic writes about? What is their role in the story?

Which of the heroes of Yuri Trifonov's story is most interested in "material and spiritual comfort"? What is the idea of ​​the heroes of the story about this and the other comfort?

13. Yuri Trifonov stated: “I do not agree with those critics who wrote that the author's position is not visible in the“ Moscow ”stories ... Author's assessment can be expressed through plot, dialogues, intonation. One important circumstance must be kept in mind. It is hardly necessary to explain to the readers that selfishness, greed, hypocrisy are bad qualities. "

How is the attitude of the writer to the characters and phenomena expressed in the story "Exchange" "through the plot, dialogues, intonations"?

How are the explanations that “selfishness, greed, hypocrisy are bad qualities” manifest in Exchange?

14. The critic L. Denis wrote about the stories of Yuri Trifonov: “Language is free, unconstrained, the author tries to reproduce oral speech without hesitation, uses argotisms where necessary. But this is not all. We can say that this writer has something of Dostoevsky: the extreme inner complexity of the characters, the difficulty with which they try to understand themselves, make decisions. So, we come across extremely long paragraphs, self-scrolling phrases; the difficulty of being is partly conveyed through the external difficulty of writing. "

What is the role oral speech in the story?

How often do "extremely long paragraphs" in "self-scrolling phrases" occur in Trifonov's works? What does the critic's phrase about the fact that the difficulty of being the characters in the story "is conveyed through the external difficulty of writing" means?

1) - Remember the plot of the work.

The family of Viktor Georgievich Dmitriev, an employee of one of the research institutes, lives in a communal apartment. Daughter Natasha - a teenager - behind the curtain. Dmitriev's dream of moving in with his mother did not find support from Lena, his wife. Everything changed when the mother was operated on for cancer. Lena herself started talking about the exchange. The actions and feelings of the heroes, manifested in the solution of this everyday question, which ended in a successful exchange, and soon the death of Ksenia Fedorovna, make up the content of a small story.

– So, exchange is the pivot of the story, but can we say that it is also a metaphor that the author uses?

2) The protagonist of the story is a representative of the third generation of the Dmitrievs.

Grandfather Fyodor Nikolaevich is intelligent, principled, humane.

– What about the hero's mother?

Find the characteristic in the text:

“Ksenia Fyodorovna is loved by her friends, respected by her colleagues, appreciated by her neighbors in the apartment and at Pavlin's dacha, because she is benevolent, compliant, ready to help and take part ...”

But Viktor Georgievich Dmitriev falls under the influence of his wife, "gets stuck". The essence of the title of the story, its pathos, author's position, as it follows from the artistic logic of the story, is revealed in the dialogue between Ksenia Fyodorovna and her son about the exchange: “I really wanted to live with you and Natasha ... - Ksenia Fyodorovna was silent. - And now - no "-" Why? " - “You have already exchanged, Vitya. The exchange has taken place. "

– What is the meaning of these words?

3) What makes up the image of the main character?

Characterization of an image based on text.

– How does the emerging conflict with his wife about the exchange end?("... He lay down in his place against the wall and turned to face the wallpaper.")

– What does this pose of Dmitriev express?(This is a desire to get away from the conflict, humility, non-resistance, although in words he did not agree with Lena.)

– And here is another subtle psychological sketch: asleep Dmitriev feels his wife's hand on his shoulder, which first “lightly strokes his shoulder” and then presses “with considerable weight”.

The hero realizes that his wife's hand is inviting him to turn. He resists (this is how the author depicts the internal struggle in detail). But ... "Dmitriev, without saying a word, turned on his left side."

– What other details indicate the hero's submission to his wife, when we understand that he is a driven man?(In the morning, the wife recalled the need to talk to the mother.

“Dmitriev wanted to say something,” but he, “taking two steps after Lena, stood in the corridor and returned to the room.”)

This detail - "two steps forward" - "two steps back" - is a clear evidence of the impossibility for Dmitriev to go beyond the limits imposed on him by external circumstances.

– Whose rating does the hero get?(We learn his assessment from the mother, from the grandfather: "You are not a bad person. But you are not surprising either.")

4) Dmitriev was denied the right to be called a person by his family. Lena was denied by the author: “... she gnawed into her desires, like a bulldog. Such a pretty woman-bulldog ... She did not let go until desires - right in her teeth - turned into flesh ... "

Oxymoron * pretty bulldog woman further emphasizes the negative attitude of the author towards the heroine.

Yes, Trifonov has clearly defined his position. This contradicts the statement of N. Ivanova: "Trifonov did not set himself the task of either condemning or rewarding his heroes: the task was different - to understand." This is partly true ...

It seems that another remark of the same literary critic: “… Behind the external simplicity of presentation, calm intonation, designed for an equal and understanding reader, - Trifonov poetics. And - an attempt at social aesthetic education. "

– What is your attitude towards the Dmitriev family?

– Would you like life to be like this in your families?(Trifonov managed to paint a typical picture family relations of our time: the feminization of the family, the transfer of initiative into the hands of predators, the triumph of consumerism, the lack of unity in raising children, the loss of traditional family values... The desire for peace as the only joy makes men put up with their secondary importance in the family. They lose their solid masculinity. The family is left without a head.)

The story of Yuri Trifonov "Exchange" is based on the aspirations of the protagonist, a typical Moscow intellectual, Viktor Georgievich Dmitriev, to exchange housing and improve his own housing situation. For this he needs to live with a hopelessly ill mother, who suspects her imminent death. The son convinces her that he is terribly eager to live with her in order to better take care of her. However, the mother realizes that he is primarily concerned not with her, but with the apartment, and that he is in a hurry with the exchange because of fear of losing her room after her death. Material interest replaced Dmitriev's feeling filial love... And it is not for nothing that at the end of the work, the mother declares to her son that she was once going to live with him together, but now she is not, because: “You have already exchanged, Vitya. The exchange took place ... It was a long time ago. day, so don’t be surprised, Vitya. And don’t get angry. Just so imperceptibly .. " personal selfishness, changed moral positions to philistine well-being. And yet, having managed to move in with her mother right before her death, her death, perhaps a little caused by a hasty exchange, is depressingly: "After the death of Ksenia Fedorovna, Dmitriev developed a hypertensive crisis, and he lay at home for three weeks in strict bed rest." ... Then he gave up and seemed like "not yet an old man, but already an elderly man." What is the reason for Dmitriev's ethical fall?

In the story, his grandfather is presented to us as an old revolutionary who says to Viktor "You are not a nasty person. But you are not surprising either." No, which turns out to be very important in this case, and willpower. Dmitriev cannot resist the pressure of his wife Lena, who is striving to obtain the benefits of life at any cost. At times he protests, makes scandals, but only to clear his conscience, because almost always, in the end, he capitulates and does as Lena wants. Dmitriev's wife has long been putting her own prosperity at the forefront. And she knows that her husband will be an obedient instrument in achieving her goals: "... She spoke as if everything was a foregone conclusion and that it was clear to him, Dmitriev, that everything was a foregone conclusion, and they understood each other without words." Regarding people like Lena, Trifonov said in an interview with critic A. Bocharov: "Selfishness is in humanity that is the most difficult to defeat." And at the same time, the writer is far from sure whether it is possible in principle to completely defeat human egoism, whether it is not wiser to try to introduce it into some moral limits, to set certain boundaries for it. For example, such: the desire of each person to satisfy their own needs is legal and just as long as it does not harm other people. After all, selfishness is one of the most powerful factors in the development of a person and society, and one cannot ignore this. Let us remember that Nikolai Gavrilovich Chernyshevsky wrote about "reasonable egoism" with sympathy and almost as an ideal of behavior in his novel "What is to be done?" The trouble, however, is that it is very difficult to real life find the line that separates " reasonable selfishness“from the“ unreasonable. ”Trifonov emphasized in the mentioned interview:“ Egoism disappears din, where the idea arises. ”Dmitriev and Lena do not have such an idea, so egoism becomes the only one for them moral value... But those who oppose them - Ksenia Fedorovna, the sister of Victor Laura, do not have this idea, cousin the main character Marina ... And it is no coincidence that in a conversation with another critic, L. Anninsky, the writer objected to him: "You pretended that I adore the Dmitrievs (meaning all representatives of this family, except Viktor Georgievich), and I adore them being ironic. " The Dmitrievs, unlike the Lena's family, the Lukyanovs, are not very adapted to life, they do not know how to profit for themselves either at work or at home. They do not know how and do not want to live at the expense of others. However, Dmitriev's mother and his family are by no means ideal people. They are characterized by one vice that worried Trifonov - intolerance (it is no coincidence that this is how the writer called his novel about the People's Will Zhelyabov - "Intolerance").

Ksenia Fyodorovna calls Lena a bourgeois woman, and she calls her a prude. In fact, Dmitriev's mother can hardly be considered a prude, but the inability to accept and understand people with different behavioral attitudes makes her difficult to communicate, and this type of people is not viable in the long run. Dmitriev's grandfather was still inspired revolutionary idea... For subsequent generations, it greatly dimmed due to comparison with the very far from ideal post-revolutionary reality. And Trifonov understands that at the end of the 60s, when "Exchange" was being written, this idea was already dead, and the Dmitrievs did not have any new idea. This is the tragedy of the situation. On the one hand, the buyers Lukyanovs, who know how to work well (which Lena is appreciated at work, is emphasized in the story), know how to equip their everyday life, but they do not think about anything else. On the other hand, the Dmitrievs, who still retain the inertia of intellectual decency, but over time, more and more of it, not supported by an idea, are losing.

Viktor Georgievich has already "gone crazy", and probably this process was accelerated by Nadezhda, who hopes that the main character will revive his conscience. Still, in my opinion, the death of his mother caused some kind of moral shock in the hero, with which, apparently, Dmitriev's malaise was connected. But still, the chances for it spiritual revival very little. And it is not for nothing that in the last lines of this story the author reports that he learned the whole story from Viktor Georgievich, who now seems to be sick, crushed by a man's life. Exchange moral values happened in his soul, led to a sad result. The reverse exchange for the hero is almost impossible.