The fate of the Russian village in works of modern literature

Moral issues
in works modern writers Moral Lessons history as one of the themes of modern Russian
literature [Russian village... What is it like? What do we mean when we say the word "village"? At once
I remember the old house, the smell of fresh hay, vast fields and meadows. And I also remember the peasants, these
workers, and their strong calloused hands. Many of my peers probably have grandparents
living in the village. Coming to them in the summer to relax, or rather, to work, we see with our own eyes how difficult it is
the life of peasants and how difficult it is for us, urbanites, to adapt to this life. But I always want to come to
village, to take a break from the bustle of the city. Many writers have not ignored the fate of the Russian village in their work.
Some admired the rural nature and “learned to find bliss in the truth,” others saw the true
the situation of the peasants and called the village poor, and its huts - gray. IN Soviet time theme of Russian fate
villages have become almost leading, and the issue of the great turning point is still relevant today. It must be said that
It was collectivization and its consequences that forced many writers to take up their pen.] - first topic [Problems
morality worries many modern writers. Many of them show in their works that
the moral ideals of most people have changed greatly, and not in better side. Most modern
writers have stories about villages, about the moral values ​​of peasants, which, like the bulk of the people,
have changed not for the better.] - second topic [In the 20th century, history taught the Russian people a “good” lesson,
this lesson has to do with coming and ruling Soviet power, which ruled the country for more than 70 years. This lesson
cost the Russian people several tens of millions of lives. One can argue for a long time about what the Soviet gave
power in our country, and of course, there were bright moments in her reign, but a black spot on our history
The country began collectivization, which bled the villages dry. The Soviet state brutally deceived the peasants,
promising them lands and happy life, and then just ten years later, having taken away almost all their property,
and depriving many of their lives. Of course, the state led by Stalin acted basely and vilely towards
to the workers of the earth. Story by A.I. Solzhenitsyn's "Matrenin's Dvor", tells us about the consequences of this terrible
experiment for a Russian village] - for the third topic In 1956, a story by A.I. Solzhenitsyn
"Matrenin's Dvor", which tells about the life of a Russian village in the fifties. The writer shows how
The life, soul and moral guidelines of the peasantry changed greatly after the introduction of collective farms and the implementation of
total collectivization. In this work, Solzhenitsyn shows the crisis of the Russian village, which began
just after the seventeenth year. At first Civil War, then collectivization, dispossession of the peasants.
The peasants were deprived of property, they lost incentive to work. But the peasantry later, during the Great
The Patriotic War fed the entire country. The life of a peasant, his way of life and morals - all this is very well possible,
understand by reading this work. The main character in it is the author himself. This is a man who served time in the camps
a long prison sentence (they simply didn’t give short ones back then), who wants to return to Russia. But not to the Russia that
was disfigured by civilization, and to a remote village, to the primeval world, where they would bake bread, milk cows and where
there will be beautiful nature: “On a hillock between spoons, and then other hillocks, entirely surrounded by forest, with a pond
and a dam. The high field was the very place where it would not be a shame to live or die. There I sat for a long time in the grove
on a stump and thought that from the bottom of my heart I would like not to have to have breakfast and lunch every day, just to stay here and
at night listening to the branches rustling on the roof - when you can’t hear the radio from anywhere and everything in the world is silent.” Many people
they simply didn’t understand his intentions: “It was also a rarity for them - after all, everyone is asking to go to the city, and bigger things.” But,
alas, he is disappointed: he did not find everything that he was looking for, there is the same social poverty in the village: “Alas, there
didn't bake bread. They didn't sell anything edible there. The whole village was dragging food in bags from the regional city.”
Having traveled to several villages, he fell in love with the one where a woman of about sixty lived, Matryona. This place was
similar to many of that time. It was not distinguished by wealth, but on the contrary, it was consumed by poverty. Before my eyes
The main character is presented with the real life of the peasantry, and not what was usually said at party congresses. Narrator
sees to what extent the peasantry has become impoverished. It has lost centuries-old economic and cultural traditions. He
sees the house of his mistress Matryona. You can only live in this house in the summer, and even then only in good weather. Life in
The house is terrible: cockroaches and mice are running around. People in the village of Torfoprodukt have nothing to eat. Matryona asks what
cook for lunch, but it’s realistic that, apart from “kartovi or cardboard soup”, nothing else from the products
simply no. Poverty makes people steal. The leaders have already stocked up on firewood, but the ordinary people are simply
they forgot, but people need to exist somehow, and they begin to steal peat from the collective farm. The author describes to us
The appearance of the main character, Matryona, is sufficiently detailed. Matryona was sick a lot, and sometimes did not get up from the stove.
A woman who spent her whole life working did not see any kindness or warmth in life. Fifteen years ago she
was married and had six children. But the husband did not return from the war, and the children died one after another. In this life
she was lonely: “Besides Matryona and me, there was also a cat, mice and cockroaches living in the hut.” This woman has a lot in life
survived, and suffered a lot of grief and suffering. The state is not interested in how people like
Matryona. Their rights are not protected in any way. Matryona worked all her life for the collective farm, but she is not paid a pension because
that she left the collective farm before pensions were introduced. She left due to illness, but no one cares. So
Life is unfair to Matryona. The slogan: “Everything for man” has been crossed out. Wealth does not belong to the people, people -
serfs of the state. These are the problems that A. I. Solzhenitsyn addresses in this workHome
the heroine does not even have livestock, except for a goat: “All her bellies were one dirty-white, crooked-horned goat.” She has food
consisted of one potato: “I walked on water and cooked in three cast irons: one cast iron for me, one for myself, one for myself.”
goat She chose the smallest potatoes from the underground for the goat, small ones for herself, and for me - with egg" Swamp
poverty sucks people in, and a good life is not visible. But Solzhenitsyn shows not only material impoverishment,
but also spiritual. The people around Matryona experience a deformation of moral concepts: good - wealth. At
Matryona's life, relatives begin to share the house (upper room). The dilapidated room is transported on a tractor. Tractor
gets stuck and gets hit by a fast train. Because of this, Matryona and two other people die. Greed takes over
people. Thaddeus, who loved Matryona in the past, at the funeral worries not about her death, but about the logs. To him
wealth is more valuable than human life. This environment in which people live leads them to theft, greed and
loss of moral values. People deteriorate and become cruel. But Matryona retained the human being within her.
The purely Russian character of Matryona is perfectly shown. Kindness and compassion for all living things. Matryona all my life
offended. Matryona's miserable life did not make her heart and soul miserable. I imagine Matryona with an awkward, as if
inept, smile, wise calm eyes and amazing naturalness, authenticity, which is illuminated
on her face. To see a great soul in a simple village old woman, to see a righteous woman, only
Solzhenitsyn.[With his story, Solzhenitsyn poses many questions and answers them himself. The collective farm system is not
he justified himself; he cannot feed the country and create a normal life for the peasants. Monopoly ugliness
authorities. The villagers are commanded by the townspeople, they order when to sow and when to reap. In his story, Solzhenitsyn does not
expresses ideas on how to change the world, he simply truthfully describes the Russian village, without embellishment, and in this
his true merit as a writer. He showed the people the harsh truth of village life.] - for the first
themes [The writer paints an unsightly picture of village life in his work. Moral values
most peasants are apprehensive, and questions about what will happen next] is the second topic [Future generations need
learn from the mistakes their ancestors made so that the same scary tale did not happen again a second time.
] – for the third topicDespite the fact that the work of A.I. Solzhenitsyn was written more than 40 years ago,
problems in the modern village have not become less; perhaps, they have become even more numerous and they will have to be solved sooner or later
late for our generation.

The theme of city and village became especially relevant in Russian literature of the 20th century, when the era of industrialization began to absorb the village: village culture, worldview. The villages began to empty out, young residents sought to move to the city, “closer to civilization.” This state of affairs greatly worried many Russian writers who had roots in the village. After all, it was in the village way of thinking and feelings that they saw the foundations of true morality, purity, simplicity of life, and indigenous wisdom. In the post-revolutionary works of S. Yesenin, the problem of city and countryside resounds loudly. The poet loves his native fields “in his sadness”; he proclaims peace to the “rakes, scythes and plows” and wants to believe in a better lot for the peasantry. But his mood is pessimistic.

In the poem "I the last poet villages,” he predicts the imminent death of the village, an attack on its civilization in the form of an “iron guest.” In the poem “Sorokoust” Yesenin compares two worlds, presented in the form of a cast-iron train (city) and a red-maned foal (village). The foal strives to overtake the train, but this is impossible: the forces are unequal. The poet sadly notes that the times have come when “steel cavalry defeated living horses...” This was reflected not only in the way of life, but, what is much more serious, in the way of thought, in ideas about morality and morality. Another singer of village life was V.

I. Belov. He entered literature at the very beginning of the 60s of the 20th century.

The village people of V. Belov are stingy with words and expressions of feelings, sometimes rude, as they grew up in the difficult world of a distant northern village. It is no coincidence that Grandma Evstolya tells tales about Poshekhontsy, unfortunate men - bunglers. The main character of his story “A Business as Usual” is akin to these Poshekhons. It is said about him: “A Russian person is smart with hindsight, sometimes he is simple-minded, gets into trouble,” and that is why his fellow villagers and the author himself laugh so good-naturedly at him. Belov does not address an ideal person, but the most ordinary person, who has both positive and negative traits character. The writer claims that it is the village people who are the basis of morality, purity and simplicity, the basis of the nation.

V. Rasputin in “Matryonin’s Dvor” also addresses the theme of the village and the city. For the writer, the concept of a village is akin to the concepts of “land”, “homeland”, “memory” and “love”. Residents of Matera, guardians of traditions and the foundations of life, cannot imagine their lives without places familiar from childhood. They are not attracted to the improvement of the city; for them, existence outside their native island is meaningless, and even impossible. Young people think differently.

They break away from their native roots, move to the city, forget not only their ancestors, but also their native land, turn into people of memory and without a homeland. The writer sees a very alarming trend in this. Thus, rural life, on the one hand, is idealized by writers, presented in all its naturalness and truth, on the other, rural life is contrasted with urban life as largely immoral, immoral, divorced from its roots and the commandments of its ancestors. At the same time, writers note that the city is winning over the village, people are trying to leave, villages are turning into abandoned deserts. This is an alarming trend, because the village is the basis of the nation, culture and worldview of the Russian people.

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Introduction

1. Description of the Russian national character in the works of writers

2. Vasily Shukshin

3. The originality of Shukshin’s heroes

4. The image of the Russian village in the works of V.M. Shukshina

Conclusion

List of used literature

Introduction

In Russian literature, the genre of village prose is noticeably different from all other genres. What is the reason for this difference? You can talk about this for an extremely long time, but still not come to a final conclusion. This happens because the scope of this genre may not fit within the description rural life. This genre may also include works that describe the relationship between people in the city and the countryside, and even works in which main character not a villager at all, but in spirit and idea, these works are nothing more than village prose.

IN foreign literature There are very few works of this type. There are significantly more of them in our country. This situation is explained not only by the peculiarities of the formation of states and regions, their national and economic specifics, but also by the character, “portrait” of each people inhabiting a given area. In countries Western Europe, the peasantry played an insignificant role, and all national life was in full swing in the cities. In Russia, since ancient times, Russian villages occupied the most main role in history. Not in terms of power (on the contrary - the peasants were the most powerless), but in spirit - the peasantry was and, probably, remains to this day driving force Russian history. It was from the dark, ignorant peasants that Stenka Razin, and Emelyan Pugachev, and Ivan Bolotnikov came out; it was because of the peasants, or rather because of serfdom, that that cruel struggle took place, the victims of which were tsars, poets, and part of the outstanding Russian intelligentsia of the 19th century. Thanks to this, works covering this topic occupy a special place in the literature.

Modern village prose plays a big role in today's literary process. This genre today rightfully occupies one of the leading places in terms of readability and popularity. The modern reader is concerned about the problems that are raised in novels of this genre. These are issues of morality, love of nature, good, kind attitude towards people and other problems that are so relevant today. Among modern writers who have written or are writing in the genre of village prose, the leading place is occupied by such writers as Viktor Petrovich Astafiev ("The Fish Tsar", "The Shepherd and the Shepherdess"), Valentin Grigorievich Rasputin ("Live and Remember", "Farewell to Matera "), Vasily Makarovich Shukshin ("Villages", "Lyubavins", "I came to give you freedom") and others.

Vasily Makarovich Shukshin occupies a special place in this series. His original creativity has attracted, and will continue to attract, hundreds of thousands of readers not only in our country, but also abroad. It's rare to find such a master folk word, such a sincere admirer of his native land as this outstanding writer was.

Target course work define the world of the Russian village in the stories of V.M. Shukshina.

1 . DescriptionRussian nationalthcharacterin workswriters

From time immemorial, people from the Russian hinterland have glorified the Russian land, mastering the heights of world science and culture. Let us at least remember Mikhailo Vasilyevich Lomonosov. So are our contemporaries Viktor Astafiev and Vasily Belov. Valentin Rasputin, Alexander Yashin, Vasily Shukshin, representatives of the so-called “village prose”, are rightfully considered masters of Russian literature. At the same time, they forever remained faithful to their rural birthright, their “small homeland.”

I have always been interested in reading their works, especially the stories and stories of Vasily Makarovich Shukshin. In his stories about fellow countrymen one can see the writer’s great love for the Russian village, concern for today’s man and his future fate.

Sometimes they say that the ideals of Russian classics are too far from modernity and are inaccessible to us. These ideals cannot be inaccessible to a schoolchild, but they are difficult for him. Classics - and this is what we try to convey to our students - is not entertainment. The artistic exploration of life in Russian classical literature never turned into an aesthetic pursuit; it always pursued a living spiritual and practical goal. V.F. Odoevsky formulated, for example, the purpose of his writing: “I would like to express in letters the psychological law according to which not a single word uttered by a person, not a single action is forgotten, does not disappear in the world, but certainly produces some kind of action; so that responsibility is connected with every word, with every seemingly insignificant act, with every movement of a person’s soul.”

When studying works of Russian classics, I try to penetrate into the “secrets” of the student’s soul. I will give several examples of such work. Russian verbal - artistic creativity and the national sense of the world is so deeply rooted in the religious element that even movements that have outwardly broken with religion still find themselves internally connected with it.

F.I. Tyutchev in the poem "Silentium" ("Silence!" - Lat.) speaks about the special strings of the human soul that are silent in Everyday life, but clearly declare themselves in moments of liberation from everything external, worldly, vain. F.M. Dostoevsky in The Brothers Karamazov recalls the seed sown by God into the soul of man from other worlds. This seed or source gives a person hope and faith in immortality. I.S. Turgenev felt more keenly than many Russian writers the short duration and fragility of human life on earth, the inexorability and irreversibility of the rapid flight of historical time. Sensitive to everything topical and momentary, able to capture life in its beautiful moments, I.S. Turgenev simultaneously possessed a generic feature of any Russian classic writer - a rare sense of freedom from everything temporary, finite, personal and egoistic, from everything subjectively biased, clouding the acuity of vision, breadth of vision, completeness of artistic perception. In the troubled years for Russia, I.S. Turgenev creates a prose poem "Russian Language". The bitter consciousness of the deepest national crisis that Russia was then experiencing did not deprive I.S. Turgenev of hope and faith. Our language gave him this faith and hope.

So, the depiction of the Russian national character distinguishes Russian literature as a whole. The search for a hero who is morally harmonious, who clearly understands the boundaries of good and evil, who exists according to the laws of conscience and honor, unites many Russian writers. The twentieth century (especially the second half) felt the loss even more acutely than the nineteenth moral ideal: the connection of times fell apart, the string broke, which A.P. so sensitively caught. Chekhov (the play “The Cherry Orchard”), and the task of literature is to realize that we are not “Ivans who do not remember kinship.”

I would especially like to focus on the image people's world in the works of V.M. Shukshina. Among the writers of the late twentieth century, it was V.M. Shukshin turned to the people’s soil, believing that people who retained their “roots,” albeit subconsciously, but were drawn to the spiritual principle inherent in the people’s consciousness, contained hope and testified that the world had not yet perished.

Speaking about the depiction of the folk world by V.M. Shukshin, we come to the conclusion that the writer deeply comprehended the nature of the Russian national character and showed in his works what kind of person the Russian village yearns for. About the soul of a Russian person V.G. Rasputin writes in the story "Izba". The writer turns readers to the Christian norms of simple and ascetic life and at the same time, to the norms of brave, courageous deeds, creation, asceticism. We can say that the story returns readers to the spiritual space of the ancient, maternal culture. The tradition of hagiographic literature is noticeable in the story. Severe, ascetic Agafya's life, her ascetic work, love for native land, to every hummock and every blade of grass, erecting “mansions” in a new place - these are the moments of content that make the story about the life of a Siberian peasant woman related to life. There is also a miracle in the story: despite the “addiction,” Agafya, having built a hut, lives in it “twenty years without one year,” that is, she will be awarded longevity. And the hut built by her hands, after Agafya’s death, will stand on the shore, will long years to preserve the foundations of centuries-old peasant life, will not allow them to perish in our days.

The plot of the story, the character of the main character, the circumstances of her life, the story of the forced move - everything refutes the popular ideas about the laziness and commitment to drunkenness of the Russian person. It should also be noted main feature fate of Agafya: “Here (in Krivolutskaya) Agafya’s Vologzhin family settled from the very beginning and lived for two and a half centuries, taking root in half the village.” This is how the story explains the strength of character, perseverance, and asceticism of Agafya, who is building her “house” in a new place, a hut, after which the story is named. In the story of how Agafya set up her hut in a new place, the story of V.G. Rasputin comes close to the life of Sergius of Radonezh. It is especially close in the glorification of carpentry, which was mastered by Agafya’s voluntary assistant, Savely Vedernikov, who earned an apt description from his fellow villagers: he has “golden hands.” Everything that Savely’s “golden hands” do shines with beauty, pleases the eye, and glows. “The raw plank, and how board to board lay on two shiny slopes, playing with whiteness and newness, how it shone already in the twilight, when, having knocked on last time Savely went down the roof with an ax, as if light was streaming over the hut and she stood up to her full height, immediately moving into the residential order.”

Not only life, but also fairy tales, legends, and parables resonate in the style of the story. As in the fairy tale, after Agafya’s death the hut continues common life. The blood connection between the hut and Agafya, who “endured” it, is not broken, reminding people to this day of the strength and perseverance of the peasant breed.

At the beginning of the century, S. Yesenin called himself “the poet of the golden log hut.” In the story by V.G. Rasputin, written at the end of the 20th century, the hut is made of logs darkened by time. There is only a glow under the night sky from the brand new plank roof. Izba - a word-symbol - was fixed at the end of the 20th century in the meaning of Russia, homeland. The parable layer of V.G.’s story is connected with the symbolism of village reality, with the symbolism of the word. Rasputin.

So, moral problems traditionally remain the focus of Russian literature; our task is to convey to students the life-affirming foundations of the works being studied. The portrayal of the Russian national character distinguishes Russian literature; the search for a hero who is morally harmonious, clearly aware of the boundaries of good and evil, and who exists according to the laws of conscience and honor, unites many Russian writers.

2 . Vasily Shukshin

Vasily Makarovich Shukshin was born in 1929, in the village of Srostki, Altai Territory. And through the entire life of the future writer, the beauty and severity of those places ran like a red thread. It was thanks to his small homeland that Shukshin learned to appreciate the land, the work of man on this land, and learned to understand the harsh prose of rural life. Already from the very beginning creative path he discovered new ways in depicting man. His heroes turned out to be unusual in their social status, life maturity, and moral experience. Having already become a fully mature young man, Shukshin goes to the center of Russia. In 1958, he made his debut in cinema ("Two Fedoras"), as well as in literature ("A Story in a Cart"). In 1963, Shukshin released his first collection, “Rural Residents.” And in 1964, his film “There Lives a Guy Like This” was awarded the main prize at the Venice Film Festival. comes to Shukshin worldwide fame. But he doesn't stop there. Years of intense and painstaking work. For example: in 1965 his novel “The Lyubavins” was published and at the same time the film “There Lives Such a Guy” appeared on the country’s screens. Just from this example alone one can judge with what dedication and intensity the artist worked.

Or maybe it’s haste, impatience? Or the desire to immediately establish oneself in literature on the most solid - “novel” basis? This is certainly not true. Shukshin wrote only two novels. And as Vasily Makarovich himself said, he was interested in one topic: the fate of the Russian peasantry. Shukshin managed to touch a nerve, penetrate our souls and make us ask in shock: “What is happening to us”? Shukshin did not spare himself, he was in a hurry to have time to tell the truth, and with this truth to bring people together. He was obsessed with one thought that he wanted to think out loud. And be understood! All the efforts of Shukshin, the creator, were aimed at this. He believed: “Art - so to speak, to be understood...” From his first steps in art, Shukshin explained, argued, proved and suffered when he was not understood. They tell him that the film “There Lives a Guy Like This” is a comedy. He is perplexed and writes an afterword to the film. At a meeting with young scientists, a tricky question is thrown at him, he hesitates, and then sits down to write an article (“Monologue on the Stairs”).

3 . The originality of Shukshin's heroes

One of the creators of village prose was Shukshin. The writer published his first work, the story “Two on a Cart,” in 1958. Then, over the course of fifteen years of literary activity, he published 125 stories. In the collection of stories “Rural Residents,” the writer included the cycle “They are from Katun,” in which he lovingly talked about his fellow countrymen and his native land.

The writer’s works differed from what Belov, Rasputin, Astafiev, Nosov wrote within the framework of village prose. Shukshin did not admire nature, did not go into long discussions, did not admire the people and village life. His short stories are episodes snatched from life, short skits, where the dramatic alternates with the comic.

The heroes of Shukshin's village prose often belong to the well-known literary type " little man"The classics of Russian literature - Gogol, Pushkin, Dostoevsky - more than once brought out similar types in their works. Remained current image and for village prose. While the characters are typical, Shukshin's heroes are distinguished by an independent view of things, which was alien to Gogol's Akaki Akakievich or Pushkin's stationmaster. The men immediately sense insincerity; they are not ready to submit to fictitious city values. Original little people - that's what Shukshin got.

The weirdo is strange to city residents; his own daughter-in-law’s attitude towards him borders on hatred. At the same time, the unusualness and spontaneity of Chudik and people like him, according to Shukshin’s deep conviction, makes life more beautiful. The author talks about the talent and beauty of the soul of his weirdo heroes. Their actions are not always consistent with our usual patterns of behavior, and their value systems are surprising. He falls out of the blue, loves dogs, is surprised by human malice, and as a child wanted to become a spy.

The story "Rural Residents" is about the people of a Siberian village. The plot is simple: the family receives a letter from their son with an invitation to come and visit him in the capital. Grandma Malanya, grandson Shurka and neighbor Lizunov imagine such a trip as a truly epoch-making event. Innocence, naivety and spontaneity are visible in the characters' characters; they are revealed through dialogue about how to travel and what to take with you on the road. In this story we can observe Shukshin's skill in composition. If in "The Freak" we were talking about an atypical beginning, here the author gives open ending, thanks to which the reader himself can complete and think out the plot, give assessments and summarize.

It is easy to notice how carefully the writer takes the construction of literary characters. The images, with a relatively small amount of text, are deep and psychological. Shukshin writes about the feat of life: even if nothing remarkable happens in it, living every new day is equally difficult.

The material for the film “There Lives Such a Guy” was Shukshin’s story “Grinka Malyugin.” In it, a young driver accomplishes a feat: he takes a burning truck into the river so that barrels of gasoline do not explode. When a journalist comes to the wounded hero in the hospital, Grinka is embarrassed to talk about heroism, duty, and saving people. The character's striking modesty borders on holiness.

All Shukshin's stories are characterized by the characters' manner of speech and a bright, stylistically and artistically rich style. Various shades of life colloquial speech in Shukshin’s works look in contrast to the literary cliches of socialist realism. The stories often contain interjections, exclamations, rhetorical questions, and marked vocabulary. As a result, we see natural, emotional, living heroes.

The autobiographical nature of many of Shukshin’s stories, his knowledge of rural life and problems gave credibility to the troubles that the author writes about. The contrast between city and countryside, the outflow of young people from the village, the dying of villages - all these problems are widely covered in Shukshin’s stories. He modifies the type of little man, introduces new features into the concept of Russian national character, as a result of which he gains fame.

Where did the writer get the material for his works? Everywhere, where people live. What material is this, what characters? That material and those characters that have rarely entered the sphere of art before. And it took for him to come from the depths of the people great talent, so that with love and respect he would tell the simple, strict truth about his fellow countrymen. And this truth became a fact of art and aroused love and respect for the author himself. Shukshin's hero turned out to be not only unfamiliar, but also partly incomprehensible. Lovers of “distilled” prose demanded a “beautiful hero”, they demanded that the writer invent, so as not to disturb his own soul. The polarity of opinions and harshness of assessments arose, oddly enough, precisely because the hero was not fictional. And when the hero represents a real person, he cannot be only moral or only immoral. And when a hero is invented to please someone, there is complete immorality. Isn’t it from here, from a lack of understanding of Shukshin’s creative position, that creative errors in the perception of his heroes come from. After all, what is striking about his heroes is the spontaneity of action, the logical unpredictability of an act: he will either unexpectedly accomplish a feat, or suddenly escape from the camp three months before the end of his sentence.

Shukshin himself admitted: “I am most interested in exploring the character of a non-dogmatic person, a person not grounded in the science of behavior. Such a person is impulsive, gives in to impulses, and therefore is extremely natural. But he always has a reasonable soul.” The writer's characters are truly impulsive and extremely natural. And they do this by virtue of internal moral concepts, perhaps not yet realized by themselves. They have a heightened reaction to the humiliation of man by man. This reaction takes on the most various shapes. Sometimes it leads to the most unexpected results.

Seryoga Bezmenov was burned by the pain of his wife’s betrayal, and he cut off two of his fingers (“Fingerless”).

A bespectacled man in a store was insulted by a boorish salesman, and for the first time in his life he got drunk and ended up in a sobering-up station (“And in the morning they woke up...”), etc. and so on.

In such situations, Shukshin’s characters may even commit suicide (“Suraz”, “The wife saw off her husband to Paris”). No, they cannot stand insults, humiliation, resentment. They offended Sashka Ermolaev (“Resentment”), the “unbending” aunt-seller was rude. So what? Happens. But Shukshin’s hero will not endure, but will prove, explain, break through the wall of indifference. And... he grabs the hammer. Or he will leave the hospital, as Vanka Teplyashin did, as Shukshin did ("Klyauza"). A very natural reaction of a conscientious and kind person...

No Shukshin does not idealize his strange, unlucky heroes. Idealization generally contradicts the art of a writer. But in each of them he finds something that is close to him. And now, it is no longer possible to make out who is calling to humanity there - the writer Shukshin or Vanka Teplyashin.

Shukshinsky’s hero, faced with a “narrow-minded gorilla,” may, in despair, grab a hammer himself in order to prove to the wrong person that he is right, and Shukshin himself may say: “Here you need to immediately hit him on the head with a stool - the only way tell the boor that he did something wrong" ("Borya"). This is a purely "Shukshin" collision, when truth, conscience, honor cannot prove that they are them. And it is so easy, so simple to reproach a boor conscientious person. And more and more often, the clashes of Shukshin’s heroes become dramatic for them. Shukshin was considered by many to be a comic, “joke” writer, but over the years the one-sidedness of this statement, as well as another - about the “compassionate lack of conflict” of Vasily Makarovich’s works, became more and more clearly revealed. The plot situations of Shukshin's stories are poignant. In the course of their development, comedic situations can be dramatized, and something comic is revealed in dramatic situations. With an enlarged depiction of unusual, exceptional circumstances, the situation suggests their possible explosion, a catastrophe, which, having broken out, breaks the usual course of life of the heroes. Most often, the actions of the heroes are determined by a strong desire for happiness, for the establishment of justice (“In Autumn”).

Did Shukshin write about the cruel and gloomy property owners Lyubavins, the freedom-loving rebel Stepan Razin, old men and old women, did he talk about the breaking of the entryway, about the inevitable departure of a person and his farewell to all earthly people, did he stage films about Pashka Kogolnikov, Ivan Rastorguev, the Gromov brothers, Yegor Prokudin , he depicted his heroes against the backdrop of specific and generalized images - a river, a road, an endless expanse of arable land, a home, unknown graves. Shukshin understands this central image comprehensive content, solving the cardinal problem: what is a person? What is the essence of his existence on Earth?

The study of the Russian national character, which has developed over the centuries, and the changes in it associated with the turbulent changes of the twentieth century, constitutes the strong side of Shukshin’s work.

Gravity and attraction to the earth are the strongest feeling of the farmer. Born with man, it is a figurative representation of the greatness and power of the earth, the source of life, the guardians of time and the generations that have passed away with it in art. The earth is a poetically meaningful image in Shukshin’s art: the native house, the arable land, the steppe, the Motherland, the mother - the damp earth... Folk-figurative associations and perceptions create an integral system of national, historical and philosophical concepts: about the infinity of life and the goals of generations receding into the past, about Motherland, about spiritual ties. The comprehensive image of the earth - the Motherland - becomes the center of gravity of the entire content of Shukshin’s work: the main collisions, artistic concepts, moral and aesthetic ideals and poetics. The enrichment and renewal, even the complication of the original concepts of land and home in Shukshin’s work is quite natural. His worldview, life experience, heightened sense of homeland, artistic insight, born in new era life of the people, determined such a unique prose.

4 . The image of the Russian village in the works of V.M. Shukshina

In Shukshin’s stories, a lot is built on the analysis of the collision of city and countryside, two different psychologies, ideas about life. The writer does not oppose the village to the city, he only opposes the absorption of the village by the city, against the loss of those roots, without which it is impossible to preserve the moral principle within oneself. The bourgeoisie, the philistine - this is a person without roots, who does not remember his moral kinship, deprived of “kindness of soul”, “intelligence of spirit”. And in the Russian village, prowess, a sense of truth, and a desire for justice are still preserved - what has been erased is distorted in people of an urban type. In the story “My Son-in-Law Stole a Car of Firewood,” the hero is afraid of the prosecutor’s office, a man indifferent to his fate; fear and humiliation initially suppress the self-esteem of the hero Shukshin, but the innate inner strength, the root sense of truth forces the hero of the story to overcome fear, animal fear for himself, and win a moral victory over his opponent.

The relationship between city and countryside has always been complex and contradictory. To the city's "boast" of civilization, the village man often responds with rudeness and defends himself with harshness. But, according to Shukshin, real people are united not by place of residence, not by environment, but by the inviolability of the concepts of honor, courage, and nobility. They are related in spirit, in their desire to preserve their own in any situation. human dignity- and at the same time remember the dignity of others. Thus, the hero of the story “The Freak” always strives to bring joy to people, does not understand their alienation and feels sorry for them. But Shukshin loves his hero not only for this, but also because the personal, individual, that which distinguishes one person from another, has not been erased in him. “Weird people” are necessary in life, because they are the ones who make it kinder. And how important it is to understand this, to see a person in your interlocutor!

In the story "Exam" the paths of two people accidentally crossed strangers: Professor and Student. But despite the formal situation of the exam, they started talking - and saw each other as people.

Shukshin - people's writer. It's not just that his heroes are simple, unnoticeable and the lives they live are ordinary. Seeing, understanding the pain of another person, believing in yourself and in the truth is common. Seeing, understanding the pain of another person, believing in oneself and in the truth are primordial folk qualities. A person has the right to classify himself as a people only if he has a sense of spiritual tradition and the moral need to be kind. Otherwise, even if he is “originally” rural, his soul is still faceless, and if there are many such people, then the nation ceases to be a people and turns into a crowd. Such a threat hung over us in the era of stagnation. But Shukshin loved Russia with all his soul. He believed in the ineradicability of conscience, kindness, and a sense of justice in the Russian soul. Despite time, overcoming its pressure, Shukshin’s heroes remain people, remain true to themselves and the moral traditions of their people...

V. Shukshin’s first attempt to understand the fate of the Russian peasantry at historical junctures was the novel “The Lyubavins.” It was about the early 20s of our century. But the main character, the main embodiment, the focus of the Russian national character for Shukshin was Stepan Razin. It is to him, his uprising, that the second and last novel Shukshin "I came to give you freedom." It is difficult to say when Shukshin first became interested in Razin’s personality. But already in the collection “Rural Residents” a conversation about him begins. There was a moment when the writer realized that Stepan Razin, in some facets of his character, was absolutely modern, that he was the concentration national characteristics Russian people. And this, a precious discovery for himself, Shukshin wanted to convey to the reader. Today's people acutely feel how “the distance between modernity and history has shortened.” Writers, turning to the events of the past, study them from the perspective of people of the twentieth century, seek and find those moral and spiritual values ​​that are necessary in our time.

Several years pass after finishing work on the novel “Lyubavina,” and Shukshin tries to explore the processes taking place in the Russian peasantry at a new artistic level. It was his dream to direct a film about Stepan Razin. He returned to her constantly. If we take into account the nature of Shukshin’s talent, inspired and nourished by living life, and take into account that he himself was going to play the role of Stepan Razin, then one could expect from the film a new deep penetration into Russian national character. One of Shukshin’s best books is called “Characters” - and this name itself emphasizes the writer’s passion for what developed under certain historical conditions.

In stories written in recent years, there is increasingly a passionate, sincere author's voice addressed directly to the reader. Shukshin spoke about the most important, painful issues, revealing his artistic position. It was as if he felt that his heroes could not say everything, but they definitely had to say it. More and more “sudden”, “fictional” stories from Vasily Makarovich Shukshin himself appear. Such an open movement towards “unheard-of simplicity”, a kind of nakedness, is in the traditions of Russian literature. Here, in fact, it is no longer art, it is going beyond its limits, when the soul screams about its pain. Now the stories are entirely the author's word. The interview is a naked revelation. And everywhere questions, questions, questions. The most important things about the meaning of life.

Art should teach goodness. Shukshin saw the most precious wealth in the ability of a pure human heart to do good. “If we are strong and truly smart in anything, it is in doing a good deed,” he said.

Vasily Makarovich Shukshin lived with this, believed in it.

Conclusion

A person who believes in the power of goodness, the power of truth and asks, entreats, demands moral purity from people. The desire for ethical spirituality is the basis of Shukshin’s creativity. In the traditions of Russian literature, he considered the main task of the artist to be the knowledge of the human soul. In the traditions of Russian literature, he sought to see in this soul the “sprouts” of the good, the simple, the eternal. But at the same time, Shukshin managed to express the world in his works modern man, the complex, “confused” world of man in the era of stagnation. Shukshin reveals and explores in his heroes the qualities inherent in the Russian people: honesty, kindness, hard work, conscientiousness. But this is a world in which the best is forced to fight for its existence in human souls with enormous “pressure” of hypocrisy, philistinism, indifference, and lies. Yes, Shukshin explores the world. He writes about Russia and about the people who live on Russian soil. His originality is in a special manner of thinking, perceiving the world, a special “angle of view” on the Russian person. In Shukshin's stories one can always feel psychological depth, the inner intensity of the hero's state of mind. They are small in volume, reminiscent of ordinary, familiar everyday scenes, casually overheard ordinary conversations. But in these short stories The most important issues of human relations are touched upon. Shukshin's stories force the reader to notice in life what is most often not noticed and is considered a trifle. But in fact, our whole life consists of such little things. And Shukshin shows how a person, his essence, is revealed in seemingly insignificant actions. The heroes of Shukshin's stories are different people. But in the center of it creative world one who seeks truth in small and large things, a thinking and experiencing person. Shukshin himself spoke about his creative credo this way: “A smart and talented person will somehow find a way to reveal the truth, even with a hint, even with a half-word, otherwise it will torture him, otherwise, as it seems to him, life will pass wasted." In Shukshin's stories, a lot is built on the analysis of the collision of city and village, two different psychologies, ideas about life. The writer does not contrast the village with the city, he only opposes the absorption of the village by the city, against the loss of those roots, without which it is impossible to preserve the moral the beginning. The philistine, the philistine, is a person without roots, who does not remember his moral kinship, deprived of “kindness of soul”, “intelligence of spirit”. , distorted in people of an urban type. A village person often responds to urban “boast” of civilization with rudeness and defends himself with harshness. But, according to Shukshin, real people are united not by their place of residence, not by their environment, but by the inviolability of the concepts of honor, courage, and nobility. spirit, by striving to preserve one’s human dignity in any situation and at the same time remembering the dignity of others. Shukshin is a national writer. It's not just that his heroes are simple, unnoticeable and the lives they live are ordinary. Seeing, understanding the pain of another person, believing in oneself and in the truth are primordial folk qualities. A person has the right to classify himself as a people only if he has a sense of spiritual tradition and the moral need to be kind. Otherwise, even if he is “originally” rural, his soul is still faceless, and if there are many such people, then the nation ceases to be a people and turns into a crowd. Such a threat hung over us in the era of stagnation. But Shukshin loved Russia with all his soul. He believed in the ineradicability of conscience, kindness, and a sense of justice in the Russian soul. Despite time, overcoming its pressure, Shukshin’s heroes remain people, remain true to themselves and the moral traditions of their people...

His stories are fast-paced, free of extraneous description, generally devoid of exposition, and characters are quickly introduced into the action. You will never find in Shukshin’s stories even the most amusing, but self-sufficient detail. The details of the narrative are sparse, but effective and plot-driven. His landscapes, corresponding state of mind characters are always extremely brief.

Among Russian modern writers, masters of storytelling, Shukshin is given place of honor. His novelistic creativity is a bright and original phenomenon. With all the variety of genre forms, Shukshin has a favorite moral issues and the creative manner inherent only to this author, that creative handwriting by which you recognize each of his pages. Vasily Shukshin's prose is a unique phenomenon, with its own stylistic features. The writer thinks out, develops, and further imagines the characters seen in life. Shukshin peers into his character and examines him thoroughly like an artist, revealing his spiritual multi-layeredness and versatility. In his stories, life appears in its multidimensionality, inexhaustibility, and amazing diversity. The intonation of his works is fluid and rich in shades. Shukshin creates a unique human character on several pages and through him shows some layer of life, some side of existence. village prose Shukshin story

Shukshin is a deeply social writer. He explored new social phenomena, trodden his path in art and turning to unknown layers of life. He was attracted to ordinary life ordinary people, where, under the cover of everyday life, he could see the special - those features that together created the Russian national character. The Russian national character, the Russian people in their historical movement - this is what has invariably occupied creative thinking Shukshin in the years of his maturity. He is primarily interested in the moral world of man. Literature of the 70s is characterized by deep production moral problems, tireless interest in the innermost depths of the human soul, the courage of artistic quest. Shukshin’s creativity develops in this direction, full of faith in inexhaustible possibilities. human personality. In the great modern debate about man, he is always on the side of optimism, but he is not kind either - he is merciless towards everything evil, dark that stains the human soul. Direct and merciless criticism of some phenomena encountered in the moral sphere of our society is necessary, necessary. Speaking against careerism and greed, against rudeness and ignorance, Shukshin not only castigates their carriers, but also warns. He wants to protect us from mistakes and actions, to spiritually strengthen us readers. Shukshin never controls his heroes. He knows how to detect in everyday character the typifying principle germinating in him. His truth is not bookish, it was suffered, it arose as the result of his life. Exploring new social phenomena as an artist, Shukshin trampled his path in art and turned to unknown layers of life. This is the ordinary life of ordinary people. Social conflicts Shukshin is occupied primarily with their moral side. The artist peers with deep interest into the individual psychology of the hero. One of its main themes is the theme of true and imaginary moral values, the theme of truth and falsehood in human relations. His work is characterized by the formulation of complex ethical problems. What is happiness and how is it achieved? What does honest work give a person? What is that life position, that worldview, that code of morality that helps to achieve high satisfaction and true happiness?

WITHlist of used literature

1. Arsenyev K.K. Landscape in the modern Russian novel // Arsenyev K.K. Critical studies on Russian literature. T.1-2. T.2. St. Petersburg: typography. MM. Stasyulevich, 1888;

2. Gorn V.F. Vasily Shukshin. Barnaul, 1990;

3. Zarechnov V.A. Functions of landscape in the early stories of V.M. Shukshina: Interuniversity collection of articles. Barnaul, 2006;

4. Kozlov S.M. Poetics of stories by V.M. Shukshina. Barnaul, 1992;

5. Ovchinnikova O.S. The nationality of Shukshin's prose. Biysk 1992;

Creativity V.M. Shukshina. encyclopedic Dictionary- reference book, vol. 1, 2,3 B.

6. V. Horn Disturbed Soul

7. V. Horn The fate of the Russian peasantry

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112. Dramatic destinies of the individual in a totalitarian social order (based on the novel by E. Zamyatin “|” 114. Artistic originality and historical and philosophical issues

The star of the fields burns without fading,
For all the anxious inhabitants of the earth,
Touching with your welcoming ray
All the cities that rose in the distance.
N. Rubtsov
The work of the famous Russian writer, our contemporary, Valentin Rasputin for the most part dedicated to the problems of the village. He is one of those Russian thinkers who, not without reason, consider the village the center of our “national cosmos”, the node of many vitally important and hitherto insoluble problems. After the publication of his first story, “Money for Maria,” he came to the attention of serious literary criticism and gained a wide readership. Then, one after another, books began to come out: “ Deadline”, “Farewell to Matera”, “Live and Remember”, “Fire”, which made Rasputin one of the leading writers in the country.
All this happened in the early 70s. Our country was experiencing profound and not universally accepted social changes. Scientific and technological revolution stupefied hotheads and gave rise to a myth about the saving role of science and technology for all mankind, and especially for Russia. Poetry at this moment gave preference to extreme urbanists and entered the stage. Poets who glorified the village, such as Nikolai Rubtsov, remained in the shadows. This clearly destructive process was justified in part by successes in space exploration, the emergence of nuclear energy, new factories and cities. No one, or rather almost no one, thought about the consequences. Now we see what the passion for scientific and technological progress has led to. The world was horrified by the Chernobyl disaster, the Aral Sea dried up, artificial seas turned into swamps. Millions of people were uprooted from their homes, going to the “great construction sites of communism.” People, being cut off from their roots, became spiritually poor. The Russian village suffered especially. In general, if you think about how many hardships befall the villagers, it becomes scary. It’s amazing that, despite the continuous devastation of centuries, the village worked tirelessly and fed the country. It is no coincidence that at the end of the 60s such a phenomenon as “village prose” appeared in our literature. Because the writers could not put up with this situation in the Russian village. The movement highlighted public life countries talented writers– Rasputin, Belov, Abramov, Nosov, Shukshin. They are also called “soil workers” because they advocate for the preservation of ancestral roots.
Rasputin’s stories “The Last Term”, “Farewell to Matera”, “Fire” seem to form a trilogy about the Russian village, about the death of the “peasant Atlantis”. The motives of disaster and separation are heard in the very titles of these stories. For the story “Fire,” the writer took as an epigraph the words from a folk song: “The native village is burning, burning...” The situation with the villages in the country was such that this epigraph literally reflected the essence of the devastation taking place in them.
Thanks to the talent of V. Rasputin, the images of his village heroes seemed to enter into the struggle to save the village and everything connected with this side of human life. Old woman Anna from “The Last Term” and old woman Daria from “Farewell to Matera” became the embodiment folk wisdom which comes not so much from reading books, but life experience, labor.
The story “The Deadline” begins interestingly: old woman Anna lies on a narrow iron bed near the stove and waits for death. Her youngest son Mikhail, realizing that separation from his mother is close, calls Anna's other children to say goodbye to their mother. But he didn’t invite her most beloved daughter, Tanchora, because, just like a peasant, he calculated that the mother, waiting for the arrival of her beloved daughter, would stay on earth for a few extra days. And so it happened: waiting for the youngest extended Anna’s life. The description of these days forms the plot of the story.
The reader is confronted with the image of a simple Russian woman who lived difficult life, who lost her husband and children, but kept moral purity souls. A moral connection with her native roots helps her survive in difficult conditions. All of Anna’s relatives are from the village. They firmly grasped those strict moral commandments that were passed down from generation to generation and which Anna followed throughout her life. The commandments are simple: work tirelessly, keep the house clean and prosperous, raise children to be honest people.
During the narrative, the author turns to the history of the Russian village. His heroine recalls the years of collectivization. Then her only cow, Zorka, was taken from her. But the cow, out of old habit, came to the familiar gate in the evenings after milking. Anna treated the cow as if she were her own creature: she brought her a salted crust of bread and washed her udder. One day she decided to check whether Zorka was well milked and took hold of the nipples. It turned out that there was still some milk left in the udder. Anna began to feed the cow and gave the milk to the children. She did it secretly so that no one would guess. But the secret was soon revealed: daughter Lyusya accidentally saw Anna milking a cow. You just have to imagine to what extent this woman was conscientious if after that she “excused herself” and “couldn’t look Lucy in the eyes for a long time.” And milk helped children survive in a difficult year. The feeling of sin inherent in all honest and good people, found a way out in a kind of confession: Anna told her friend Mironikha about the illegal milking, but even while telling it she continued to be very ashamed of her act. Anna was afraid and ashamed not of public censure, but simply the secrecy of the act in itself contradicted the moral commandments of her ancestors.
Rasputin concludes the story philosophically. On the day the children leave, Anna dies. Mikhail is left alone in the village; without his relatives, his life becomes sluggish. The rest, having left the village forever, do not find happiness in the city. Torn away from their roots, they lost the moral strength of the soul, which all their lives helped their mother overcome the difficulties. I consider V. Rasputin’s story “The Deadline” to be a programmatic story in the writer’s work. The idea of ​​the story is developed and deepened by the author in new works. There are many heroes suffering and thinking about the fate of the Russian village, many different situations and circumstances will pass before the reader if he opens other books of this wonderful Russian writer, but one thing will remain unchanged in them - the idea that it is impossible for a person to live a harmonious life, breaking away from his roots. In this sense, the village theme will always be relevant and vital for our society.

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