The Theme of the Russian Village in Modern Literature (According to the story of V. Belov "The Usual Business"). The theme of the city and the countryside in the works of Russian literature

First time separate image of the city Pushkin introduces Russian literature in the poem "The Bronze Horseman". Later, Gogol continues his tradition: in the stories "The Overcoat" and "The Nose" the image of Petersburg appears - filled with imperial beauty, cold and light infernality. Gogol shows that such a majestic city simply cannot be friendly towards its inhabitants.

Dostoevsky in the novel "Crime and Punishment" approaches the description of Petersburg differently: since his novel is about people of the bottom, living in tenement houses, then he shows the poor and dirty areas of the capital of the empire.

Instead of majestic Senate Square describes Sennaya Square (in the slum area), instead of gallant ladies and gentlemen - alcoholics and prostitutes, instead of noble houses - tiny rooms.

It is understood that in such a city people cannot be happy a priori: Petersburg is either deceitful and cold, or just as abandoned and poor. Literature needs a worthy opposition to the image of the city. Thus, writers begin to turn their attention to village image.

The Village as the Embodiment of the Moral Ideal in Russian Prose and Poetry

One of the first authors of this trend was Grigorovich. He wrote the story "The Village", built on childhood memories. The plot is based on the story of an orphan girl who was married against her will, and she ended up committing suicide, because. could not live in her husband's house.

1847 story "Anton the unfortunate". Main character lives very badly, that's why it was called that. He goes to the city to sell a horse (the most valuable thing for a peasant!), thereby giving up any hope for the future. And his horse is stolen. And everything turns out very badly and sadly.

In his stories, Grigorovich describes the same time of the year, autumn. Those. it's almost constant rain, porridge under your feet, low dark sky ... in general, continuous depression. And the mood of the stories is the same misfortune, misfortune, hardship and anxiety ... there is no prospect, no horizon, sheer hopelessness and hopelessness. The people there live just as dull and gray as surrounding landscape. There are no children in the stories, therefore, there is no indication (hope) for some future.

He also wrote novels about peasant life who were not successful. He also wrote quite detailed memoirs, from which one can create an impression of his contemporaries, of his friends. Grigorovich never managed to go beyond natural school, as a result of which he did not take a decent place in the history of literature, unlike Turgenev, who later replaced naturalism with realism, describing also inner world heroes.

The image of the village at Turgenev

In the collection of short stories "Notes of a Hunter" Turgenev creates an integral image peasant soul, contrasting and at the same time harmonious. The real Russian character, in his opinion, combines the natural principle, heroic strength and sensitivity.

Turgenev admires such beauty and sincerity of the Russian people. He believes in the people and loves them, he proves that everything bad in a simple Russian person is due only to the difficulties of his life (even after the abolition of serfdom). However, the characters of "Hunter's Notes" can maintain spiritual strength and wealth even in difficult conditions.

Introduction

1. Eternal questions about the fate of Russia

2. Are there answers to eternal questions in the Village?

3. Study of the psychology of a Slav on the example of the heroes of the "Village"

Conclusion

Bibliography

Introduction

Ivan Alekseevich Bunin is a wonderful Russian writer, a great man and difficult fate. In terms of the power of the image, the refinement of the language, the simplicity and harmony of the architecture of the works, Bunin ranks among the outstanding Russian writers. His work, if you do not take into account the early imitative poems (and he, by the way, was a talented poet), is marked by the stamp of originality and complete independence, although, of course, he relied on the rich traditions of Russian literature. Bunin was most famous for his realistic novels and stories, such as The Village, The Merry Yard, Night Talk, The Dry Valley and others, which he himself considered to be among the works that sharply depicted the Russian soul, its peculiar plexus, its light and dark, but almost always tragic foundations. The story "The Village", published in 1910, caused great controversy and was the beginning of Bunin's enormous popularity. This work, like the work of the writer as a whole, asserted the realistic traditions of Russian classical literature. The story captures the richness of observations and colors, the strength and beauty of the language, the harmony of the drawing, the sincerity of tone and truthfulness. A.M. Gorky highly appreciated Bunin’s realistic work, he wrote about the story “The Village”: “I know that when the stunnedness and confusion pass ... then serious people will say:“ In addition to the first artistic value of his “Village”, Bunin was the impetus that made the broken and shattered Russian society seriously think no longer about the peasant, not about the people, but over the strict question - to be or not to be Russia. He wrote to Bunin himself in December 1910: “... So deeply, so historically, no one took the village ... I don’t see what your thing can be compared with, I’m touched by it - very much. This modestly hidden, muffled groan for my native land is dear to me, noble sorrow is dear to me, painful fear for her - and all this is new.

1. Eternal questions about the fate of Russia

From time immemorial, it has been common for people to think about questions, the answers to which could not be some well-known phrases and dogmas. It is no coincidence that such questions began to be called philosophical or eternal. It goes without saying that cultural heritage could not pass by such a significant part of the social and spiritual life of the people, so the creators, to the best of their ability, actively offered possible answers encrypted in their works. Literature, of course, did not remain aloof from this difficult, but at the same time most interesting occupation. Beginning with ancient literature, up to our days, the dispute about the fate of man and the people, about the meaning of existence, about faith, God ... It seems that there is no end to these reflections.

At the beginning of the 20th century, Russia stood at a crossroads. Year after year, the situation escalated. Eternal questions with their relevance attracted the attention of the leading minds of enlightenment. Ivan Alekseevich Bunin himself asked them, and his work is a direct proof of this. A life human society subject to change, upheaval and cataclysms. This world, according to Bunin, is disharmonious and unstable. In 1910, a large generalizing canvas was published - Bunin's story "The Village", in which topical social issues are added to philosophical, ethical, aesthetic problems, which are revealed on the material of Russian reality of the 20th century. This work is the pinnacle of Bunin's pre-revolutionary creativity. This story, which created a real storm in literary world, the writer made enemies for himself, who did not get tired of repeating that he was a cold and vicious writer who slandered peasant Russia and did not want to see anything bright, positive in it. Meanwhile, the "Village" was created by Bunin with such passion and torment, with which he hardly wrote anything. From childhood, he knew village life well, he had friends, first among the children, and then from the village youth, with whom he spent a lot of time, being easily in their huts, he knew the peasant language to the subtlety. “My life has passed in the village, therefore, I have the opportunity to see the express train,” Bunin said with knowledge, considering it the primary duty of everyone thinking person especially the writer.

Despite the fact that Durnovka and the county town were chosen as the scene of the story, the scope of life in it is much wider and larger. The "village" is filled with rumors, disputes, conversations on trains, at bazaars, at gatherings, at inns. It has a lot actors that give the impression of a seething polyphonic crowd. The heroes of the story are trying to understand the environment, to find some kind of foothold that will help them stay in this mighty stream, survive not only physically, but also spiritually.

At the center of the story are Tikhon and Kuzma, two siblings who adhere to different life positions. Tikhon was firmly convinced that the most durable and reliable thing in the world is money, which gives prosperity, well-being, and confidence in the future. Endowed with a strong character, strong will, peasant ingenuity and hard work, this descendant of a serf becomes the owner of the Durnovsky estate. In order to achieve the goal, Tikhon subordinated his whole life to the pursuit of wealth. On this path, he has to make deals with his conscience, to be tough with his fellow villagers. Marriage for profit does not bring Tikhon family happiness, for he is deprived even of the joy of fatherhood. He has no heirs to whom he could transfer the wealth accumulated throughout his life. The personal drama of the hero is exacerbated by social discord, when the foundations that seemed unshakable collapse. Tikhon Krasov is deeply amazed that in the fertile black earth region there can be famine, ruin and poverty. "The owner would be here, the owner!" he thinks. His brother Kuzma blames the government "blankers" for this, who "trampled, beaten the people."

Kuzma Krasov has a different understanding of life. This hero is presented to the reader as a truth seeker, a folk poet who is trying to understand and comprehend the tragedy of his people, their misfortune and guilt. Condemning the atrocities of the ruling circles, Kuzma painfully perceives poverty, backwardness, the darkness of the peasantry, its inability to rationally organize its life. Tikhon and Kuzma Krasov are extraordinary and strong natures, stubbornly looking for the meaning and purpose of life. But whether they find it is another question... The author's own thoughts about the hopeless life in the village haunt us throughout the story. For example, they are clearly felt in the dialogue between Tikhon Krasov and his brother Kuzma. Tikhon says: “Sit in the village, eat gray cabbage soup, wear thin bast shoes!” “Laptey! - somewhere Kuzma responds - The second thousand years, brother, drags them, be they cursed three times! And who is to blame? The reader is faced with a really serious question in scope, the answer to which cannot be a statement based on their own everyday experience, but on the generalizing experience of generations of predecessors.

The "merciless truth" of Bunin's story was based on its author's deep knowledge of the "peasant kingdom". In it, Bunin shows the life of the peasantry on the eve of the first Russian revolution, the events of which completely destroy the usual course of life in the countryside. We see some peasant gatherings, burning landowners' estates, rampant poor people ... The heroes of the story are trying to figure out their surroundings, to find a foothold for themselves. But the turbulent events of the beginning of the century exacerbate not only social problems villages, but also destroy normal human relations, lead the heroes of the "Village" to a dead end.

2. Are there answers to eternal questions in the Village?

Let's make an attempt to find answers to the eternal questions that interest us about the fate of Russia in the researched work of I.A. Bunin "The Village". Obeying logic, let us turn to the text and find in it the main arguments about Russia, and sometimes even secondary characters. One of the brightest dialogues is the conversation between Kuzma and Balashkin.

And again he grabbed a cigarette and began to roar dully:

Merciful God! Pushkin was killed, Lermontov was killed, Pisarev was drowned, Ryleev was strangled… Dostoevsky was dragged to execution, Gogol was driven mad… And Shevchenko? And Polezhaev! You say the government is to blame? Why, a serf and a master, Senka and a hat. Oh, is there still such a side in the world, such a people, may it be thrice cursed?

Anxiously fiddling with the buttons of his long-skirted frock coat, now buttoning it, now unbuttoning it, frowning and grinning, the embarrassed Kuzma said in reply:

Such a people! The Greatest People, not "such", let me tell you.

Don't you dare give prizes! Balashkin shouted again.

No, I dare! After all, these writers are the children of this very people!

And why not Eroshka, why not Lukashka? I, brother, if I want to shake literature, I will find all the gods by their boots! Why is Karataev, and not Razuvaev, with Kolupaev, not a world-eater spider, not a pop-likhodist, not a corrupt clerk, not some kind of Saltychikha, not Karamazov with Oblomov, not Khlestakov with Nozdrev ali, so as not to go far, not your scoundrel- brother?

Platon Karataev....

Lice ate your Karataev! I don't see it as ideal.

And what about the Russian martyrs, ascetics, saints, holy fools for Christ's sake, schismatics?

What-oh? And what about the Coliseums, the crusades, the wars of the legion, the innumerable sects? Luther, finally? No, you're kidding! For me, you won’t break the fang right away! ”

Reception put into the mouth of secondary characters deep, important for ideological content works of thought are not Bunin's innovations. But he, of course, skillfully and talentedly uses this find, putting into Balashkin's head thoughts that are probably inherent in the author himself. Balashkin's arguments are convincing and powerful. But no less vital is the position of Kuzma Krasov in his discussions about Russia and the people: “And Kuzma remembered his father, childhood ...“ Rus, Rus! Where are you going?" Gogol's exclamation came to his mind. - "Rus, Rus! .." Ah, empty bolts, there is no abyss for you! That would be cleaner - “the deputy wanted to poison the river” ... Yes, but from whom should they be charged? Unhappy people, first of all - unhappy! .. And tears welled up in Kuzma's small green eyes - suddenly, as it often happened Lately". Or another quote from Kuzma: “The wanderer is the people, but the eunuch and the teacher are not the people? Slavery was abolished only forty-five years ago - what is there to exact from this people? Yes, but who's to blame? The people themselves!” For Kuzma, with his searching soul, thoughts about something high and eternal are generally characteristic. During the story, we see the hero in communication with different people representatives of different generations and views. Over time, his views are transformed depending on the experience gained. If in previous quotes Kuzma is at a crossroads, does not see the further development of his country, does not find answers about the fate of the people, then after the death of Akim, Kuzma's view becomes more definite. Here is a dialogue between Tikhon Ilyich and Kuzma: “Kuzma jumped up from his seat.

Lord, Lord! - He exclaimed in falsetto, - What a Lord we have! What kind of Lord can Deniska, Akimka, Menshov, Sery, you, me have?

Wait, - Tikhon Ilyich asked sternly. - What kind of Akimki has?

I lay there slumped, - continued Kuzma, not listening, - did I think about him a lot? One thing I thought: I don’t know anything about him and I don’t know how to think! - shouted

Kuzma. - Not learned!

And, looking around with shifting pained eyes, buttoning and unbuttoning, he walked across the room and stopped in the very face of Tikhon Ilyich.

Remember, brother, - he said, and his cheekbones turned red. - Remember: our song is sung with you. And no candles will save us with you. Do you hear? We are fools!

And, unable to find words from excitement, fell silent. But Tikhon Ilyich was already thinking something of his own again and suddenly agreed.

Right. Not good people to hell! Just think…”

From all the above statements, we cannot derive answers to the questions posed at the beginning of the work about the fate of Russia and the Russian people. Is it a coincidence? Is it regularity? Does Bunin give answers and does he know them himself? Perhaps, in the story "The Village" Ivan Alekseevich tried to sort out his head, put his thoughts in order and plunge deeper into the discussion about the village, Russia, the Russian people. It is unlikely that Bunin was able to unambiguously answer all his questions. "The Village" leaves us room for reflection, meanwhile refuting the assertion "The people are always right."

3. Study of the psychology of a Slav on the example of the heroes of the "Village"

The study of the psychology of the Slavs is far from simple theme, to which many works, volumes and publications are devoted. Turning to Bunin, to his "Village", we can draw some conclusions based on the characters and actions of the main characters of the story - the brothers Tikhon and Kuzma Krasov, because it is they who are presented to the reader in development, in dynamics ... Both of these heroes are looking for a way out, looking for the meaning of life , are watching what is happening, but recognize the life and the Russian people as lost. It is quite reasonable, because what is happening in front of Kuzma truly does not fit into the idea of ​​a broad Russian soul, of the high destiny of the Russian people, which the Slavophiles so loudly declared.

For example, an old man is dying. He is still alive, and already in the vestibule there is a pine coffin, already the daughter-in-law is ruining the dough for pies. And suddenly the old man recovered. Where was the coffin to go? How to justify spending? Lukyan was then cursed for five years for them, lived with reproaches from the world, starved to death, bled lice and dirt. Or, if you please: on the night before Christmas, in a fierce snowstorm, the peasants from Kolodzei strangled a sentry in the Kurasovsky forest in order to divide the rope taken from the dead for some witchcraft purposes.

But what especially struck the protagonist of the story, Kuzma, was that the village itself did not believe in what it was doing. Here they strangled a man because of a rope - but did they believe in this rope? Oh weak! This absurd and terrible deed was committed with merciless cruelty, but without faith, without firmness... “Yes, they have no faith in anything. “Everything has degenerated…” he adds sadly. By painting a picture of the village with precisely these colors, Bunin makes it clear that he does not see in Russia the force that can unite Slavic peoples under the single faith of Orthodoxy, does not share the opinion of Slavic lovers. His life path is proof of that. After all, from emigration (France), he saw even more clearly what was happening in his homeland, setting out his thoughts in the manifesto on the tasks of the Russian Abroad "Mission of the Russian Emigration". It gives us everything full right call Bunin an opponent of the Slavophile attitude towards the peasants.

The picture of the life of the village that Bunin paints is bleak, the psyche of the peasant is bleak, even at the moments of the highest rise. public struggle, and the prospects for the future among these dead fields, covered with lead clouds, are also bleak. The idiocy of village life is closely connected with the very way of village life, with village labor, with a close outlook, with the isolation and isolation of the interests and life of the village.

Bunin himself told the correspondent of one of the Odessa newspapers: “There were a lot of rumors and rumors about my last story “The Village”. Most of the critics completely misunderstood my point of view. I was accused of being angry with the Russian people, they reproached me for my noble attitude towards the people, and so on. And all this is because I look at the situation of the Russian people rather bleakly. But what to do if the modern Russian countryside does not give rise to optimism, but, on the contrary, plunges into hopeless pessimism ... "

Conclusion

Ivan Bunin village story

In the story "The Village" (Bunin also called it a novel), the author violated the tradition of "pink" love of people, showed new type folk, peasant, "earthen" personality. The Bunin village, in terms of its spiritual and vitality, not only bore fruit, but is also doomed to self-disintegration - economic and religious. The author showed true pictures of decline, impoverishment and, at the same time, exacerbation social conflicts in the pre-revolutionary village.

The descriptions of nature are symbolic: winter, a blizzard coexist with a gloomy episode of an unwanted and incomprehensible wedding for many. Chaos, lack of harmony - all this is manifested not only in interpersonal relationships in the village, but also in nature itself, which, as it were, echoes everything that happens.

And, of course, the story "The Village" cannot be considered as a description of a certain place in Russia where the events described could take place. In the author's text there are words that are amazing in accuracy, which convey to the reader the meaning and scale of the work: “... Russia? Yes, it’s all a village ... ”So powerfully, truthfully and clearly, Bunin gave his assessment of Russia and the time in which he lived. The work does not have a sharp, tightly twisted plot, but, in the words of Tvardovsky, it has a great "thickness and density of vital material" from the time of the first Russian revolution, and the images of the peasants are endowed with traits of such individuality that you forget that this is not real people but the fruit of the author's imagination. The story "The Village" is one of the most significant works the beginning of the 20th century, and I.A. Bunin is one of the brightest representatives of the writers' constellation late XIX- XX beginning of the century.

Bibliography

1. Bunin I.A. Antonov apples(novels and short stories) Soviet Russia, M.: 1990

2. Cossack V. Lexicon of Russian literature of the XX century = LexikonderrussischenLiteraturab 1917. - M .: RIK "Culture", 1996.

3. Mramornov O. About Y. Maltsev's book "Bunin" New world, №9, 1995

4. Nichiporov I.I.A. Bunin. Essay on creativity Rustrana.Ru, 19.07.2007

5. Smirnova L. I. A. Bunin "Russian literature of the late XIX - early XX century", M .: Education, 1993

6. Saakyants A. About Bunin and his prose. Preface to the collection of stories M .: Pravda, 1983

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The theme of the city and the countryside became especially relevant in Russian literature of the 20th century, when the era of industrialization began to absorb the village: village culture, worldview. Villages began to empty, young residents sought to move to the city, "closer to civilization." This state of affairs was very disturbing for many Russian writers who were connected with the countryside by their roots. After all, it was in the rural way of thinking and feeling that they saw the foundations of true morality, purity, simplicity of life, and fundamental wisdom.

In the post-revolutionary work of S. Yesenin, the problem of the city and the countryside sounds loudly. The poet is dear to his native fields “in his sorrow”, he proclaims peace to “rakes, scythes and plows” and wants to believe in a better lot for the peasantry. But his mood is pessimistic. In the poem "I last poet villages," he predicts quick death villages, 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 seeks to overtake the train, but this is impossible: the forces are unequal. The poet notes with sadness that the time has come when "living horses were defeated by steel cavalry ..." This was reflected not only in the way of life, but, much more seriously, in the way of thinking, in ideas about morality and morality.

V.I. became another singer of village life. Belov. He entered the 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 difficult world distant northern village. It is no coincidence that Grandma Yevstolya tells tales about Poshekhonians, unfortunate peasants - bunglers.

The protagonist of his story "The Usual Business" is akin to these Poshekhons. It is said about him: “A Russian person is smart in hindsight, sometimes he is simple-minded, gets into a mess,” and therefore the fellow villagers and the author himself laugh at him so good-naturedly. Belov does not address perfect person, but to the most common one, which has both positive and negative traits character. The writer claims that village people- the basis of morality, purity and simplicity, the basis of the nation.

V. Rasputin in "Matryonin's Yard" also refers to the theme of the village and the city. For the writer, the concept of a village is akin to the concept of "land", "homeland", "memory" and "love". Residents of Matera, keepers of traditions and vital foundations, cannot imagine their life without the places familiar from childhood. They are not attracted by the beautification of the city; for them, existence outside native island pointless, 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 without a homeland. The writer sees this as a very disturbing trend.

In this way, country life, on the one hand, is idealized by writers, presented in all its naturalness and truth, on the other hand, village life is opposed to city 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 conquering the village, people tend to leave, the 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.

Village theme in contemporary literature

11th grade student "M"

secondary school No. 274

Romashchenko Vladimir

1. Biography of Alexander Isaevich Solzhenitsyn

a) youth

b) hard labor

c) life in the village of Miltsevo

2. Solzhenitsyn-portrait painter

3. Matrenin yard

but) the world Matryona

b) the fate of the heroine

c) the attitude of others around her

4. The appearance of the Russian village

5. The death of Matryona

a) farewell ceremony

b) the personality of Thaddeus

c) the death of Matryona - a break in moral ties

6. Idea load original name works

7. Solzhenitsyn's influence on literature

Alexander Isaevich Solzhenitsyn was born in 1918 in Kislovodsk. In 1924

year together with his mother Taisiya Zakharovna (his father died six months before

the birth of a son) moved to Rostov.

Solzhenitsyn studied at the Faculty of Physics and Mathematics of the Rostov

university. The brilliantly gifted young man was one of the first to receive an established

in 1940, a Stalin scholarship. Turning to the fourth year, Solzhenitsyn

simultaneously entered the correspondence department of MIFLI (Moscow Institute

philosophy, literature and history). In addition, he studied English

language and was already writing seriously.

In October 1941 he was mobilized; he went to the front in 1942 and

passed with his "sound battery" (revealing enemy artillery) from

Eagle to East Prussia. Here in February 1945, in connection with the discovered

censorship in his, captain Solzhenitsyn, correspondence with a friend of his youth N.

Vitkevich's sharply critical, "leftist" assessments of Stalin's personality, he was

arrested, escorted to Moscow and sentenced to eight years. These years he

first spent in a camp at the Kaluga outpost, then four years - at the research institute (

"sharashka"), two and a half years - on general works in the camps of Kazakhstan.

After liberation from the camp - an eternal settlement in Kok-Terek in the south

Kazakhstan (it lasted three years), and then - moving to the Ryazan

region and work as a mathematics teacher at a school in one of the villages (this moment

depicted in the story "Matryona Dvor") and in Ryazan.

Acquaintance with Solzhenitsyn the writer must begin with his stories, where

in an extremely concise form, with stunning artistic power author

reflects on eternal questions. On the example of the story "Matryona Dvor"

it is possible to visually, clearly reveal the originality of Solzhenitsyn as a writer, his

closeness and divergence with other writers in their views on the fate of the Russian

In our literary criticism, it was customary to lead a "village" line from

the first works of V. Ovechkin, F. Abramov, V. Tendryakov. Tem

the thought of V. Astafyev, who knows this topic like no one else, seemed more unexpected

the other, "from the inside", about the fact that our " village prose"Went out of" Matrenino

yard." Somewhat later, this idea was developed in the literary

criticism. “What Solzhenitsyn brought to literature is not a narrow truth, not

truth of the message. ... Solzhenitsyn did not just say

truth, he created the language that time needed - and there was

reorientation of all the literature that has taken advantage of this

language" 1.

V. Astafiev called "Matryona Dvor" "the pinnacle of Russian short stories." Myself

Solzhenitsyn once noted that he rarely turned to the genre of the story, for

"artistic pleasure": "In small form you can put a lot

and it is a great pleasure for an artist to work on a small form. That's why

that in a small form you can hone the edges with great pleasure for yourself.

In the story "Matryona Dvor" all facets are honed with brilliance, and the meeting with

the story becomes, in turn, a great delight for the reader.

The story is usually based on a case that reveals the nature of the main

hero, it is on the image of which A. Solzhenitsyn reveals the "village"

Through a tragic event - the death of Matryona - the author comes to a deep

understanding her personality. Only after death “the image of Matryona floated before me,

which I did not understand her, even living side by side with her.

concentration, intersection of frozen, not yet deployed or already

completed "plots" of life, the roads of the hero.

In his work, the writer does not give a detailed, specific description

heroines. Only one portrait detail is constantly emphasized by the author -

"radiant", "kind", "apologetic" smile of Matryona. However, towards the end

story, the reader imagines the appearance of the heroine. Already in the tonality

red frosty sun the frozen window of the porch filled with a little pink,

now shortened, - and this reflection warmed the face of Matryona. And further - already

at odds with your conscience." I remember the smooth, melodious, primordially Russian

Matryona's speech, beginning with "some kind of low warm murmur, like grandmothers

in fairy tales"

The whole surrounding world of Matryona in her darkish hut with a large Russian stove -

it is like a continuation of herself, a part of her life.

–––––––––––––––

1 Latynina A. Solzhenitsyn and us // Novy Mir. - 1990. No. 1. - p. 243

2 Solzhenitsyn A.I. Matrenin yard, St. Petersburg, 1999, - p. 187

3 ... ibid., p. 153

Everything here is organic and natural: cockroaches rustling behind the partition,

the rustle of which resembled "distant noise

ocean", and a shaky cat, picked up out of pity by Matryona, and mice,

who, on the tragic night of Matryona's death, rushed about behind the wallpaper, as if

Matryona herself "invisibly rushed about and said goodbye here, to her hut"1.

straightaway. Bit by bit, referring to the copyright scattered throughout the story

digressions and comments, to the mean confessions of Matryona herself, is going

full story of hardship life path heroines. Lots of grief and

injustice she had to sip in her lifetime: broken love,

the death of six children, the loss of a husband in the war, hellish, not for every peasant

feasible work in the countryside, severe illness - illness, bitter resentment at the collective farm,

who squeezed all the strength out of her, and then wrote off as unnecessary, leaving without

pensions and support. Tragedy is concentrated in the fate of one Matryona

rural Russian woman - the most expressive, blatant.

But - an amazing thing! - Matryona did not get angry at this world, kept

good mood, feelings of joy and pity for others, still

a radiant smile brightens her face. One of the main author's assessments -

“she had a sure means to regain her good mood -

Job". For a quarter of a century on the collective farm, she pretty much broke her back:

dug, planted, dragged huge sacks and logs, was one of those who, according to

Nekrasov, "stop a galloping horse." And all this “not for money - for sticks.

For sticks of workdays in a filthy record book. However, pensions

she was not supposed to, because, as Solzhenitsyn writes with bitter irony,

she did not work at a factory - on a collective farm ... And in her old age she did not know Matryona

rest: either she grabbed a shovel, or she left with bags for a swamp to mow

grass for her dirty white goat, then went with other women

to steal secretly from the collective farm peat for winter kindling. The Chairman Himself

collective farm, recently sent from the city, also stocked up. And winter was not expected,

- the writer ends on the same ironic note.

“Matryona was angry with someone invisible,” but she did not hold a grudge against the collective farm.

Moreover, according to the very first decree, she went to help the collective farm, without receiving, as well as

before, nothing for work. Yes, and any distant

–––––––––––––––

1 Solzhenitsyn A.I. Matrenin yard, St. Petersburg, 1999, - p. 180

did not refuse help to a relative or neighbor, “without a shadow of envy”

Later she told the guest about the neighbor's rich potato harvest. Never

her work was not burdensome, “Matryona spared neither labor nor her goodness

never". And shamelessly used by everyone around matryona

disinterestedness.

How does Matryona appear in the system of other images of the story, what

the attitude of those around her? Sisters, sister-in-law, stepdaughter kira,

the only friend in the village, Thaddeus - these are the ones who were closest to

Matryona, who should have understood and appreciated this man. AND

What? She lived in poverty, wretchedly, lonely - "a lost old woman", exhausted

labor and illness. Relatives almost did not appear in her house, fearing

it seems that Matryona will ask them for help. Everyone condemned in unison

Matryona that she is funny and stupid, working for others for free, forever in

climbing men's affairs (after all, she got under the train, because she wanted to help

peasants, to drag the sled with them through the crossing). Indeed, after death

Matryona immediately flocked sisters, “seized the hut, goat and stove, locked

her chest was locked, two hundred funeral

rubles"1. Yes, and a half-century girlfriend is “the only one who sincerely loved

Matryona in this village, ”2, who came running in tears with tragic news,

nevertheless, leaving, I did not forget to take Matrena's knitted blouse with me,

so that her sisters do not get it. The sister-in-law, who recognized Matryona's simplicity and

cordiality, spoke of this "with contemptuous regret." Mercilessly

everyone used Matryona's kindness and innocence - and unanimously condemned her

Uncomfortable and cold Matryona in her state. She's lonely inside

a large society and, what is most terrible, inside a small one - one's own village,

relatives, friends. It means that the society whose system suppresses

Let's continue this thought. We can say that Matryona is close to the hero

another story by Solzhenitsyn - "One Day in the Life of Ivan Denisovich". Both of them -

conciliar personalities, that is, bearing the principles of the people, subconsciously

feeling a personal responsibility to the people. “They know about

do not even suspect whether they act consciously or subconsciously, but they

respond to the challenge of a non-human power system. The system suppressed them for

trait of mercy, doomed to destruction. No longer

–––––––––––––––

1 Solzhenitsyn A.I. Matrenin yard, St. Petersburg, 1999, - p. 181

2 ... ibid., p. 179

specifically Ivan Denisovich only or one Matryona, and the whole people ... They are ready

go to endure incredibly much, including

including personal humiliation - without humiliating the soul at the same time "1

Thus, Solzhenitsyn's measure of all things is still not

social, but spiritual. “Not the result is important ... but the spirit! Not what is done, but how.

Not what has been achieved - but at what cost, ”he never tires of repeating, and this puts

writer in opposition not so much to this or that political system,

how much to the false moral foundations of society"2

That's about it - about the false moral foundations of society - he beats

anxiety in the story "Matryona Dvor".

Fate threw the hero-narrator at the station with a strange for Russians

place name - Peat product. Already in the name itself there was a wild

violation, distortion of primordial Russian traditions. Here "stood before and

the dense, impenetrable forests survived the revolution. But then they were cut down

brought down to the root, on it the chairman of the neighboring collective farm his collective farm

exalted, and received for himself the Hero of Socialist Labor.

From individual details, a holistic image of the Russian village is formed.

Gradually there was a substitution of the interests of a living, concrete person

interests of the state, state. No longer baked bread, no longer traded

nothing to eat - the table became scarce and poor. Collective farmers 'till the whitest flies

all to the collective farm, all to the collective farm, ”and hay for their cows had to be collected

already out of the snow. The new chairman began by circumcising everyone

kitchen gardens for the disabled, and huge areas of land were empty behind fences. Long

Matryona lived for years without a ruble, and when they advised her to seek a pension, she

I wasn’t even happy anymore: they drove her with papers around the offices for several months -

"sometimes after a dot, then after a comma." And more experienced neighbors in life summed up

her pension ordeals: “The state is a momentary one. Today, you see,

and tomorrow he will take it away "3.

All this led to the fact that there was a distortion, a displacement of the

the main thing in life - moral principles and concepts. How come, sad

the tongue calls our property.

–––––––––––––––

1 Bondarenko V. Core literature // Our contemporary. - 1989. - No.

2 Latynina A. Solzhenitsyn and us // Novy Mir.– 1990.– No. 1.– p. 249.

3 Solzhenitsyn A.I. Matrenin yard, St. Petersburg, 1999, - p. 162

And to lose it is considered shameful and stupid before people. Greed,

jealousy towards each other and bitterness move people. When

dismantled Matryona's room, "everyone worked like crazy, including

bitterness, such as people have when they smell of big money or they are waiting

big meal. They shouted at each other, argued.

“And the years went by, as the water floated ...” So Matryona was gone. "Killed native

man"3, - the hero-narrator does not hide his grief. Significant place in

In the story, the writer assigns the scene of Matryona's funeral. And this is no coincidence. In the House

Matryona in last time gathered all relatives and friends, in whose environment

she lived her life. And it seemed that Matryona was leaving life, so no one

and not understood, not mourned by anyone in a human way. Even from folk rites

parting with a person left a real feeling, human beginning. Cry

turned into a kind of politics, ritual norms are unpleasantly striking in their

"cold-thought out" orderliness. At the funeral dinner they drank a lot,

they said loudly, "not at all about Matryona." As usual, they sang "Eternal

memory no longer invested feelings.

Undoubtedly, the most terrible figure in the story is Thaddeus, this "insatiable

old man", who lost elementary human pity, overwhelmed

the only desire for profit. Even the upper room "has been cursed ever since

Thaddeus's hands seized to break it.

Is this Thaddeus such a terrible evil, counting every log,

bringing the remnants of the upper room from the move almost on the day of the funeral? In the 19th century

he would probably pass for Turgenev's Khor from Khor and Kalinich, or

the owner of a private tavern in the "Singers" ... Under Stolypin, he would have become

civilized farmer. In Talnov, which survived the bacchanalia

collectivization, and extortion post-war years, this type of hoarder, strong

the owner, of course, "brutalized", acquired the features of a very creepy predator. What

he should have persuaded the unmercenary Matryona, who harnessed herself every spring

with the women in the plow to plow the gardens, and did not take any money! But

special villainy in his greed, will take

–––––––––––––––

2 ... ibid., p. 173

3 ... ibid., p. 179

4 ... ibid., p. 186

5 ... ibid., p. 183

There is no Antichrist in him...

Probably, Thaddeus was completely different in his youth - it is no accident

Matryona loved him. And in the fact that by old age he has changed beyond recognition, there is

a certain share of guilt and Matryona herself. And she felt it, she forgave him a lot.

She did not wait for Thaddeus from the front at all, she buried in her thoughts ahead of time

- and Thaddeus got angry at the whole world, driving all his resentment and anger on his wife,

he was gloomy with one heavy thought - to save the upper room from the fire and from the Matrenins

But for many readers, something else seemed more terrible: “Having sorted

But Matryona - such - was completely alone.

And the question arises:

- Is there a certain pattern in the death of Matryona, or is it a confluence

random circumstances, reliable reproduction by the author of the real

fact? (It is known that Matryona Solzhenitsyn had a prototype - Matryona

Vasilievna Zakharova, whose life and death formed the basis of the story.)

Most opinions agree on one thing: the death of Matryona is inevitable and

natural. The death of the heroine is a kind of milestone, it is a cliff that still held

under the Matryona of moral ties. Perhaps this is the beginning of decay, death

moral foundations that Matryona strengthened with her life.

In connection with this conclusion, it should be recognized that Solzhenitsyn's view of

village of those years (the story was written in 1959) is distinguished by its harsh and

cruel truth. Considering that in the 1950s and 1960s “village prose” as a whole

I also saw in the village the keeper of spiritual and moral values

folk life, the difference between Solzhenitsyn's poetry is obvious.

righteous" - carried the main ideological load. A. Tvardovsky

suggested a more neutral name for the sake of publication - "Matrenin Dvor". IN

this name is deep meaning. Starting from broad concepts

"kolkhoz yard", " peasant yard”, then in the same row there will be “Matrenin

courtyard" as a symbol of a special structure of life, a special world. matryona,

the only one in the village, lives in her own world: she arranges her life

work, honesty, kindness and patience, while maintaining its

–––––––––––––––

1 Solzhenitsyn A.I. Matrenin yard, St. Petersburg, 1999, - p. 184

soul and inner freedom. In a popular way, wise, reasonable, able

appreciate kindness and beauty, smiling and sociable in nature, Matryona managed to

resist evil and violence, preserving your "yard".

This is how the associative chain is logically built: Matrenin Dvor -

Matrenin's world is a special world of the righteous. The world of spirituality, kindness, mercy, oh

which was also written by F. M. Dostoevsky and L. N. Tolstoy. But Matryona dies - and

this world is collapsing: they tear apart her house on a log, greedily divide her

modest possessions. And there is no one to protect Matrenin Dvor, no one even

thinks that with the departure of Matryona, something very valuable and

important, not amenable to division and primitive worldly assessment.

“We all lived next to her and did not understand that she was the same righteous man, without

which, according to the proverb, the village is not worth.

Neither city.

Not all our land."1

“What Solzhenitsyn brought to literature is not the narrow truth, nor the truth

messages ... Solzhenitsyn did not just tell the truth, he created a language in which

time was needed - and there was a reorientation of all literature,

using this language." Astafiev believed that our village

–––––––––––––––

1 Solzhenitsyn A.I. Matrenin yard, St. Petersburg, 1999, - p. 188

2 Latynina A. Solzhenitsyn and us // New World. - 1990. No. 1. - p. 243

Bibliography

> Solzhenitsyn A.I. Matrenin Dvor, St. Petersburg, Azbuka, 1999

> Bondarenko V. Core literature - Our contemporary, No. 12, 1989

> Bykova N. G. Alexander Isaevich Solzhenitsyn - Encyclopedia “Literature.

Schoolchildren's Handbook, M, Slovo, 1995

> Latynina A. Solzhenitsyn and we - "New World", No. 1, M, 1990

> Loktionova N. “There is no village without a righteous man” - “Literature at School”, No. 3,

M, Enlightenment, 1994

> Chalmaev V.A. Alexander Solzhenitsyn. Life and work., M,

"Enlightenment", 1994

(According to the works of V. Astafiev and V. Rasputin)

In our difficult times, we sometimes try not to notice the difficulties that arise in modern village. Indeed, they are associated with the most topical issues society - ecology and moral behavior person. The solution of these problems determines the further course of the history of our civilization.

The theme of many works of writers - contemporaries of V. Rasputin and V. Astafiev - is ecological problem. The example of Matera shows the fate of our numerous villages, which were destroyed, allegedly for the benefit of people, by building various hydroelectric power plants, thermal power plants, etc. The fates of heroes unfold in the background main problem that hit everyone. Throughout the history of Matera, the inhabitants held on to each other, i.e. lived as one family. And the flood native land unexpectedly, unexpectedly fell on their heads. Residents are delaying their departure to the last, because many of them were afraid to leave here, where during for long years they existed. In the literal sense of the word, people cross out their past, put them in front of an unknown future. Mostly elderly people lived in the village, and it is impossible to start completely new life at 70-80 years old. People resist to the last, they are even ready to die, but they cannot resist the huge machine of Reality, which sweeps away everything in its path. I believe that the heroes created by Rasputin are patriots of their native land. Maybe that's why even nature itself "helps" the inhabitants to avert inevitable death from Matera.

Like Rasputin, Astafiev dedicates a series of his stories to his contemporaries, “those who are lost or wandering, who are ready to shoot each other, who are drowning in the poison of“ chatter ”. The writer tries by all means to draw the reader's attention to main idea- ruthless attitude to the taiga. After all, since ancient times it has been the richest source of various natural resources. Using the example of Ignatich, the author shows the lawless robbery of nature. He lives one day without thinking about the consequences. In a duel with the symbolic king-fish, in the face of an unknown higher power there is a transformation of the hero, at that moment he prays only for salvation. It seems to me that an unusual animal acts as the arbiter of a poacher, shows that the use of nature is forever impossible.

Both works are united by one thought: the master's attitude of man to environment. The relevance of this problem lies in the fact that the merciless exploitation and pollution of nature is fraught with irreparable consequences and environmental disasters in the future. The existence of human society, its well-being and prosperity depend only on us and our joint efforts!