Village prose: general characteristics and writers of village prose. Guide to village prose Features of village prose

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Village prose began in the 1950s with the stories of Valentin Ovechkin, who in his works managed to tell the truth about the state of the post-war village and dispel the distorted concept of it. Gradually, a school of writers emerged who adhered to one direction in their work: writing about the Russian village. The term “village prose” was discussed for a long time, questioned, but ultimately became established, denoting the theme and artistic and stylistic phenomenon in Russian literature of the second half of the twentieth century.

In his most famous work, “District Everyday Life,” V. Ovechkin denounced “window dressing,” postscripts in reports, and the indifference of bosses to the needs of the village. The work sounded sharp and topical. Following Ovechkin, the theme of the village was developed by V. Tendryakov, S. Voronin, S. Antonov, A. Yashin and others.

Village prose includes a variety of genres: notes, essays, stories, novellas and novels. Expanding the issues, the authors introduced new aspects into their works. We talked about history, culture, sociological and moral issues. The books “Lad”, “Carpenter’s Stories”, “Eves” by V. Belov, “Wooden Horses”, “Pelageya”, “Fatherless”, “Brothers and Sisters” by F. Abramov, “Men and Women” by B. became famous and popular. Mozhaev, “Matrenin’s Dvor” by A. Solzhenitsyn.

V. Astafiev and V. Rasputin made a great contribution to the development of village prose, who raised in their works the problem of ecology, preservation of traditions, and caring for home on Earth.

During his lifetime, Valentin Grigorievich Rasputin became a classic of Russian literature. A Siberian by birth, a man with a strong-willed character, he has experienced a lot in his lifetime. The author became famous for his stories “Money for Maria” and “The Deadline”, which told about the difficult life of people in a Siberian village. Gradually, the genre of philosophical story begins to dominate in his work.

Understanding moral and philosophical issues is the meaning of the story “Farewell to Matera.” It is no longer about individual people, but about the fate of an entire village. In this work, Rasputin reflects on the problems of man and nature, culture and ecology, the meaning of human life and the continuity of generations.

Matera is an island in the middle of the Angara and a village on it. In the story, Rasputin, using the technique of allegory, folklore and mythological motifs, creates the image of Matera - a symbol of folk Russia and its history. The root of the word “matyora” is mother, “seasoned” means “mature”, “experienced”, and in Siberia the central, strongest current on the river is called matyora.

Far away, in the capital, officials decided to build a reservoir for the needs of the national economy. No one thought that after the construction of the dam the village would end up at the bottom of an artificial reservoir. Describing the fate of an ancient village, the writer creates a complex social and philosophical image that echoes the problems of our time.

There are only a few old people left in the village; young people have gone to live in the city. Rasputin talentedly creates images of village old women. Old woman Anna has an easy-going, quiet, “iconic” character. Daria is an energetic woman. She is full of anger at the city bureaucrats, ready to defend her small homeland until her last breath. Daria laments the indifference of young people to the land of their ancestors. But in the village there is no place to study or work, so the children leave for the big world.

Rasputin explores the deepest layers of the human soul and memory. To the surprise of people who once dreamed of leaving for the city, village, and native roots do not disappear; moreover, they become the basis for existence. The native land gives strength to its children. Pavel, the son of the old woman Daria, having arrived on the island, is amazed at “how readily time closes in after him: as if there was no... village... as if he had never left Matera. He swam and the invisible door slammed behind him.”

The author, together with his heroes, thinks hard about what is happening on earth. Old people have nowhere to escape from the island. They don’t have long to live; here are their fields, forests, and the graves of their relatives in the cemetery, which, by order of the authorities, they are trying to level with a bulldozer. Local residents do not want to move to the city; they cannot imagine living in a communal house.

The writer defends the right of people to live according to the ancient laws of peasant life. The city advances on the village like an enemy, destroying it. With a feeling of hopelessness and grief, Daria says: “She, your life, look at the taxes she takes: Give her Matera, she’s starving.” City life in the heroine’s mind turns into a terrible monster, cruel and soulless.

The scene of the destruction of the cemetery shocks with the sacrilege of city residents. Both the living and the dead are powerless against an order, a resolution, a dead paper document. The wise old woman Daria cannot stand it and, “choking with fear and rage,” screams and rushes at the workers who are about to burn crosses and grave fences. The writer also draws attention to another attitude to the problem. Daria's grandson Andrei is going to work on the dam after the village is flooded, and Petrukha himself sets fire to his house to get money for it.

The writer shows how confused, divided, and quarreled people are on this earth. In the story, he creates the image of the Master of the Island, a good spirit who appears at night, because people are no longer masters of their land. In live dialogues with neighbors, her son, and grandson, Daria tries to find out “the truth about a person: why does he live?”

In the minds of the heroes of the story there lives a belief in the inviolability of the laws of life. According to the author, “even death sows a generous and useful harvest in the souls of the living.” “Farewell to Matera” is a warning story. You can burn and flood everything around you, and become strangers in your own land. Rasputin raises the most important problems of nature conservation, preservation of accumulated wealth, including moral ones - such as a holy feeling for the Motherland. He protests against the thoughtless attitude towards the country and its people. A caring man, a true citizen, Rasputin actively fought against the project of “turning the Siberian rivers” in the 1980s, which threatened to disrupt the entire ecological system of Siberia. He wrote many journalistic articles in defense of the cleanliness of Lake Baikal.

Vasily Shukshin entered literature as the author of village prose. Over fifteen years of literary activity, he published 125 stories. The first story, “Two on a Cart,” was published in 1958. 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 scenes where the dramatic is interspersed with the comic.

Shukshin’s heroes are simple villagers, representing the modern type of “little man”, which, despite the revolutions, has not disappeared since the times of Gogol, Pushkin and Dostoevsky. But in Shukshin, the village men do not want to submit to the false values invented in the city, they instantly sense the falsehood, do not want to pretend, they remain themselves. In all the writer’s stories, there is a clash between the false morality of opportunism of city residents and the direct, honest attitude of rural residents to the world. The author paints two different worlds.

The hero of the story “The Freak,” rural mechanic Vasily Knyazev, is thirty-nine years old. Shukshin amazingly knew how to start his stories. He immediately brings the reader into the action. This story begins like this: “My wife called him Weird. Sometimes affectionately. The weirdo had one peculiarity: something always happened to him.” The author immediately notes the hero’s dissimilarity from ordinary people. The weirdo was going to visit his brother and dropped the money in the store, but did not immediately realize that this bill belonged to him, and when he realized, he could not bring himself to take it.

Next, the author shows us the Freak in his brother’s family. The daughter-in-law, who works as a barmaid in the department, considers herself a city dweller and treats everything rural with contempt, including Chudik. The hero - a kind, sincere, simple-minded person - does not understand why his daughter-in-law is so hostile towards him. Wanting to please her, he painted his little nephew’s stroller. For this, Chudik was expelled from his brother's house. The author writes: “When they hated him, he was in great pain. And scary. It seemed: well, that’s it now, why live?” So, with the help of a replica, a detail, the author conveys the character of the hero. The writer portrays Chudik's return home as real happiness. He takes off his shoes and runs through the rain-wet grass. Native nature helps the hero calm down after visiting the city and his “urban” relatives.

Shukshin is sure that such seemingly worthless people add joy and meaning to life. The writer calls his weirdos talented and beautiful at heart. Their lives are purer, more soulful and more meaningful than the lives of those who laugh at them. Remembering his relatives, Chudik is sincerely perplexed as to why they became so angry. Shukshin's heroes live with soul and heart, their actions and motives are far from logic. At the end of the story, the author once again surprises readers. It turns out that Chudik “loved detectives and dogs. As a child I dreamed of becoming a spy." Material from the site

The story “Village People” tells about the life of people in a Siberian village. The family receives a letter from their son, who invites them to visit Moscow. For grandmother Malanya, grandson Shurka and their neighbor Lizunov, going to Moscow is almost like flying to Mars. The heroes discuss for a long time and in detail how to go, what to take with them. The dialogues reveal their characters and their touching simplicity. In almost all his stories, Shukshin leaves an open ending. Readers themselves have to figure out what happened next to the characters and draw conclusions.

The writer was primarily interested in the characters' characters. He wanted to show that in ordinary life, when nothing remarkable seems to happen, there is a great meaning, a feat of life itself. The story “Grinka Malyugin” tells how the young driver Grinka accomplishes a feat. He drives the burning truck into the river to prevent the gasoline barrels from exploding. The wounded guy ends up in the hospital. When a correspondent comes to him to ask about what happened, Grinka is embarrassed by loud words about heroism, duty, and saving people. The writer's story is about the highest, most sacred thing in the human soul. Later, based on this story by Shukshin, the film “There Lives Such a Guy” was made.

A distinctive feature of Shukshin’s creative individuality is the wealth of lively, bright, colloquial speech with its various shades. His heroes are often fierce debaters; they like to insert proverbs and sayings, “learned” expressions, slang words into their speech, and sometimes they can swear. The texts often contain interjections, exclamations, and rhetorical questions, which gives the works emotionality.

Vasily Shukshin examined the pressing problem of the Russian village from the inside, through the eyes of its native resident, and expressed concern about the outflow of young people from the village. The writer knew the problems of the village residents thoroughly and managed to voice them throughout the country. He created a gallery of Russian types and introduced new features into the concept of Russian national character.

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Stavropol

GBOU SPO "Stavropol College of Communications named after Hero of the Soviet Union V.A. Petrova"

In the discipline "Russian Language and Literature"

On the topic: “Village prose”

Completed:

student of group S-133

Ushakov Oleg Sergeevich

Checked:

teacher of Russian language and literature

Dolotova Tatyana Nikolaevna

prose village Shukshin

Introduction

1. Village prose of the 50-80s of the XX century

2. Image of a Soviet village by Vasily Shukshin

Conclusion

Bibliography

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 of rural life. This genre can also include works that describe the relationship between people in the city and the countryside, and even works in which the main character is not a villager at all, but in spirit and idea, these works are nothing more than village prose.

There are very few works of this type in foreign literature. 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 the countries of 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 have occupied the most important 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 the driving force of Russian history to this day. 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.

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Stavropol

Modern rural prose plays a large role in the literary process these days. 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 unique creativity has attracted and will continue to attract hundreds of thousands of readers not only in our country, but also abroad. After all, it is rare to meet such a master of the folk word, such a sincere admirer of his native land as this outstanding writer was.

The goal of our work is to determine the world of the Russian village in those days.

1. Village prose of the 50-80s of the XX century

1.1 Description of the Russian national character in the works of writers

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 and artistic creativity and the national sense of the world are 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 of 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, more keenly than many Russian writers, felt 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 of the moral ideal even more acutely than the nineteenth: the connection of times fell apart, the string broke, which A.P. so sensitively grasped. 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 dwell on the depiction of the folk 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, her love for her native land, for every mound and every blade of grass, which erected "mansions" in a new place - these are the moments of content that make the story about the life of a Siberian peasant woman similar to life. There is also a miracle in the story: despite the "superpower “, 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 for many years preserve the foundations of centuries-old peasant life, not let them perish even 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. The main feature of Agafya’s fate should also be noted: “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. “Damp plank, and how board to board lay on two shiny slopes, playing with whiteness and newness, how it shone already at dusk, when, having struck the roof with an ax for the last time, Savely went down, as if the light was streaming over the hut and it stood up in full growth, immediately moving into the living 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 their 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. Image of a Soviet village by Vasily Shukshin

2.1 Vasily Shukshin: life and work

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. From the very beginning of his creative career, he discovered new ways in depicting a person. 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. World fame comes to Shukshin. But he doesn't stop there. Years of intense and painstaking work follow. 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 the case. 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 into 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”).

2.2 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 heroes of Shukshin's village prose often belong to the well-known literary type of "little man". The classics of Russian literature - Gogol, Pushkin, Dostoevsky - more than once brought out similar types in their works. The image also remains relevant 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, then here the author gives an open ending, thanks to which the reader himself can complete and think out the plot, give assessments and draw conclusions.

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. The various shades of lively 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 was necessary for a great talent to emerge from the depths of the people, to tell the simple, strict truth about his fellow countrymen with love and respect. 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 a variety of forms. 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 "inflexible" 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,” can, in despair, grab a hammer himself in order to prove to the wrongdoer that he is right, and Shukshin himself can say: “Here you need to immediately hit him on the head with a stool - the only way to tell the boor that he did something wrong” ( "Borya"). This is a purely “Shuksha” collision, when truth, conscience, honor cannot prove that they are who they are. And it’s so easy, so simple for a boor to reproach a 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 with a comprehensive content, solving a 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 gone 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 a new era in the life of the people, determined such a unique prose.

2.3 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 force the hero of the story to overcome fear, animal fear for himself, to 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 human dignity in any situation - 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 strangers accidentally crossed: a Professor and a Student. But despite the formal situation of the exam, they started talking - and saw each other as people.

Shukshin is a 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 Shukshin’s second and last novel, “I Came to Give You Freedom,” is dedicated. 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 of the national characteristics of the 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 a new deep insight into the Russian national character from the film. 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

Looking at the array of village prose from today, it can be argued that it gave a comprehensive picture of the life of the Russian peasantry in the twentieth century, reflecting all the main events that had a direct impact on its fate: the October Revolution and the Civil War, War Communism and the New Economic Policy, collectivization and famine , collective farm construction and forced industrialization, war and post-war deprivations, all kinds of experiments on agriculture and its current degradation... She introduced the reader to different, sometimes very dissimilar Russian lands in their way of life: the Russian North (for example, Abramov, Belov, Yashin), central regions of the country (Mozhaev, Alekseev), southern regions and Cossack territories (Nosov, Likhonosov), Siberia (Rasputin, Shukshin, Akulov)... Finally, she created a number of types in literature that give an understanding of what Russian character is and that the most “mysterious Russian soul”. These are the famous Shukshin “eccentrics”, and the wise Rasputin old women, and his dangerous “Arkharovites”, and the long-suffering Belovsky Ivan Afrikanovich, and the fighting Mozhaevsky Kuzkin, nicknamed Zhivoy...

The bitter conclusion of the village prose was summed up by V. Astafiev (we repeat, he also made a significant contribution to it): “We sang the last lament - about fifteen people were mourners for the former village. We sang her praises at the same time. As they say, we cried well, at a decent level, worthy of our history, our village, our peasantry. But it's over. Now there are only pathetic imitations of books that were created twenty to thirty years ago. Those naive people who write about an already extinct village imitate. Literature must now break through the asphalt.”

Bibliography

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. “The poetics of stories by V.M. Shukshina" Barnaul, 1992;

5. Ovchinnikova O.S. “The Nationality of Shukshin’s Prose” Biysk 1992;

6. Creativity V.M. Shukshina. Encyclopedic Dictionary - Reference Book, vol. 1, 2,3 B.

7. V. Gorn “The Troubled Soul”

8. V. Gorn “The Fate of the Russian Peasantry”

9. http://allbest.ru/

Posted on Allbest.ru

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The concept of “village” prose appeared in the early 60s. This is one of the most fruitful directions in our domestic literature. It is represented by many original works: “Vladimir Country Roads” and “A Drop of Dew” by Vladimir Soloukhin, “A Habitual Business” and “Carpenter’s Stories” by Vasily Belov, “Matrenin’s Yard” by Alexander Solzhenitsyn, “The Last Bow” by Viktor Astafiev, stories by Vasily Shukshin, Evgeny Nosov , stories by Valentin Rasputin and Vladimir Tendryakov, novels by Fyodor Abramov and Boris Mozhaev. The sons of peasants came to literature, each of them could say about themselves the very words that the poet Alexander Yashin wrote in the story “I Treat You to Rowan Berry”: “I am the son of a peasant. I am affected by everything that is done on this land, on which I have walked more than one path.” knocked out with bare heels; in the fields that he still plowed with a plow, in the stubble that he walked with a scythe and where he threw hay into stacks.”

“I am proud that I came from the village,” said F. Abramov. V. Rasputin echoed him: “I grew up in the village. She fed me, and it’s my duty to tell about her.” Answering the question why he writes mainly about village people, V. Shukshin said: “I couldn’t talk about anything, knowing the village. I was brave here, I was here as independent as possible.” S. Zalygin wrote in “An Interview with Myself”: “I feel the roots of my nation right there - in the village, in the arable land, in our daily bread. Apparently, our generation is the last that saw with its own eyes the thousand-year-old way of life from which almost everyone came out of. If we don’t talk about him and his decisive alteration within a short period of time, who will say?”

Not only the memory of the heart nourished the theme of “small homeland”, “sweet homeland”, but also pain for its present, anxiety for its future. Exploring the reasons for the acute and problematic conversation about the village that literature had in the 60-70s, F. Abramov wrote: “The village is the depths of Russia, the soil on which our culture grew and flourished. At the same time, the scientific and technological revolution in which we live has affected the village very thoroughly. Technology has changed not only the type of farming, but also the very type of peasant. Along with the ancient way of life, the moral type is disappearing into oblivion.

Traditional Russia is turning over the last pages of its thousand-year history. Interest in all these phenomena in literature is natural. Traditional crafts are disappearing, local features of peasant housing, which have developed over centuries, are disappearing. Language is suffering serious losses. The village has always spoken a richer language than the city, but now this freshness is being leached and eroded.”

The village seemed to Shukshin, Rasputin, Belov, Astafiev, Abramov as the embodiment of the traditions of folk life - moral, everyday, aesthetic. In their books there is a noticeable need to look at everything connected with these traditions and what broke them.

“Business as usual” is the title of one of V. Belov’s stories. These words can define the internal theme of many works about the village: life as work, life in work is a common thing. Writers depict the traditional rhythms of peasant work, family worries and anxieties, everyday life and holidays. There are many lyrical landscapes in the books. Thus, in B. Mozhaev’s novel “Men and Women,” the description of the “unique in the world, fabulous flooded Oka meadows” with their “free variety of herbs” attracts attention: “Andrei Ivanovich loved the meadows. Where else in the world is there such a thing as God's? So as not to plow and not to sow, and the time will come - to go out with the whole world, as if on, in these soft manes and in front of each other, playing with a scythe, alone in a week to spread the fragrant hay for the whole winter to the cattle Twenty-five! Thirty carts! If the grace of God was sent down to the Russian peasant, then here it is, here, spread out in front of him, in all directions - you can’t even see it with your eyes.”

In the main character of B. Mozhaev’s novel, the most intimate thing is revealed, what the writer associated with the concept of “call of the earth.” Through the poetry of peasant labor, he shows the natural course of a healthy life, comprehends the harmony of the inner world of a person living in harmony with nature, enjoying its beauty.

Here is another similar sketch - from F. Abramov’s novel “Two Winters and Three Summers”: “Mentally talking with the children, guessing from their tracks how they walked, where they stopped, Anna did not even notice how she went out to Sinelga. And here it is, her holiday, her day, here it is, the hard-earned joy: the Pryaslina brigade at the reaping! Mikhail, Lisa, Peter, Gregory

She got used to Mikhail - from the age of fourteen she has been mowing for a man, and now there are no mowers equal to him in all of Pekashin. And Lizka also does the swathing - you’ll be jealous. Not into her, not into her mother, into Grandma Matryona, they say, with a catch. But small, small! Both with scythes, both hitting the grass with their scythes, both with grass falling under their scythes. Lord, did she ever think that she would see such a miracle!”

Writers have a keen sense of the deep culture of the people. Reflecting on his spiritual experience, V. Belov emphasizes in the book “Lad”: “Working beautifully is not only easier, but also more enjoyable. Talent and work are inseparable." And again: “For the soul, for the memory, it was necessary to build a house with carvings, or a temple on the mountain, or to weave such lace that would take the breath away and light up the eyes of a distant great-great-granddaughter.

Because man does not live by bread alone.”

This truth is professed by the best heroes of Belov and Rasputin, Shukshin and Astafiev, Mozhaev and Abramov.

In their works, it is necessary to note the pictures of the brutal devastation of the village, first during collectivization (“Eves” by V. Belov, “Men and Women” by B. Mozhaev), then during the war years (“Brothers and Sisters” by F. Abramov), during the post-war hard times (“Two Winters and Three Summers” by F. Abramov, “Matrenin’s Dvor” by A. Solzhenitsyn, “Business as Usual” by V. Belov).

The writers showed the imperfection and disorder of the heroes' daily life, the injustice perpetrated against them, their complete defenselessness, which could not but lead to the extinction of the Russian village. “There is neither subtracting nor adding here. This is how it was on earth,” A. Tvardovsky will say about this. The “information for thought” contained in the “Appendix” to Nezavisimaya Gazeta (1998, 7) is eloquent: “In Timonikha, the native village of the writer Vasily Belov, the last man, Stepanovich Tsvetkov, died.

Not a single man, not a single horse. Three old women."

And a little earlier, Novy Mir (1996, 6) published Boris Ekimov’s bitter, difficult reflection “At the Crossroads” with dire forecasts: “The poor collective farms are already eating up tomorrow and the day after tomorrow, dooming those who will live on this land to even greater poverty after them, the degradation of the peasant is worse than the degradation of the soil. And she is there."

Such phenomena made it possible to talk about “Russia, which we lost.” So the “village” prose, which began with the poeticization of childhood and nature, ended with the consciousness of a great loss. It is no coincidence that the motif of “farewell”, “last bow”, reflected in the titles of the works (“Farewell to Matera”, “The Last Term” by V. Rasputin, “The Last Bow” by V. Astafiev, “The Last Sorrow”, “The Last Old Man of the Village” "F. Abramov), and in the main plot situations of the works, and in the premonitions of the heroes. F. Abramov often said that Russia says goodbye to the village as to its mother.

To highlight the moral issues of works of “village” prose,

Let us ask the eleventh graders the following questions:

What pages of novels and stories by F. Abramov, V. Rasputin, V. Astafiev, B. Mozhaev, V. Belov were written with love, sadness and anger?

Why did the man of the “hardworking soul” become the primary hero of “village” prose? Tell us about it. What worries him? What questions do the heroes of Abramov, Rasputin, Astafiev, Mozhaev ask themselves and us, the readers?

Rasputin: “I grew up in the village. She fed me, and it’s my duty to tell about her.” Answering the question why he writes mainly about village people, V. Shukshin said: “I couldn’t talk about anything, knowing the village. I was brave here, I was here as independent as possible.” WITH.

Zalygin wrote in “An Interview with Myself”: “I feel the roots of my nation right there - in the village, in the arable land, in our daily bread. Apparently, our generation is the last that saw with its own eyes the thousand-year-old way of life from which almost everyone came out of. If we don’t talk about him and his decisive alteration within a short period of time, who will say?” Not only the memory of the heart nourished the theme of “small homeland”, “sweet homeland”, but also pain for its present, anxiety for its future. Exploring the reasons for the acute and problematic conversation about the village that literature had in the 60-70s, F. Abramov wrote: “The village is the depths of Russia, the soil on which our culture grew and flourished.

At the same time, the scientific and technological revolution in which we live has affected the village very thoroughly. Technology has changed not only the type of farming, but also the very type of peasant. Along with the ancient way of life, the moral type is disappearing into oblivion. Traditional Russia is turning over the last pages of its thousand-year history. Interest in all these phenomena in literature is natural. Traditional crafts are disappearing, local features of peasant housing, which have developed over centuries, are disappearing. Language is suffering serious losses.

The village has always spoken a richer language than the city, now this freshness is being leached, eroded.” Shukshin, Rasputin, Belov, Astafiev, Abramov saw the village as the embodiment of the traditions of folk life - moral, everyday, aesthetic. In their books there is a noticeable need to look at everything connected with these traditions and what broke them. “Business as usual” is the title of one of V.’s stories.

Belova. These words can define the internal theme of many works about the village: life as work, life in work is a common thing. Writers depict the traditional rhythms of peasant work, family worries and anxieties, everyday life and holidays. There are many lyrical landscapes in the books. So, in the novel B.

Mozhaev’s “Men and Women” draws attention to the description of the “unique in the world, fabulous flood meadows of the Oka region,” with their “free variety of herbs”: “Andrei Ivanovich loved meadows. Where else in the world is there such a gift from God? So as not to plow and not to sow, and the time will come - to go out with the whole world, as if on a holiday, in these soft manes and in front of each other, playfully with a scythe, one in a week to spread the fragrant hay for the whole winter to the cattle Twenty-five! Thirty carts!

If the grace of God was sent down to the Russian peasant, then here it is, here, spread out in front of him, in all directions - you can’t even see it with your eyes.” In the main character of B. Mozhaev’s novel, the most intimate thing is revealed, what the writer associated with the concept of “call of the earth.”

Through the poetry of peasant labor, he shows the natural course of a healthy life, comprehends the harmony of the inner world of a person living in harmony with nature, enjoying its beauty. Here is another similar sketch - from F. Abramov’s novel “Two Winters and Three Summers”: “Mentally talking with the children, guessing from their tracks how they walked, where they stopped, Anna did not even notice how she went out to Sinelga. And here it is, her holiday, her day, here it is, the hard-earned joy: the Pryaslina brigade at the reaping! Mikhail, Lisa, Peter, Grigory She got used to Mikhail - from the age of fourteen she mowed for a man and now there are no mowers equal to him in all of Pekashin. And Lizka also does the swathing - you’ll be jealous.

Not into her, not into her mother, into Grandma Matryona, they say, with a catch. But small, small! Both with scythes, both hitting the grass with their scythes, both with grass falling under their scythes. Lord, did she ever think that she would see such a miracle!” Writers have a keen sense of the deep culture of the people. Comprehending his spiritual experience, V.

Belov emphasizes in the book Lad: “Working beautifully is not only easier, but also more enjoyable. Talent and work are inseparable." And again: “For the soul, for the memory, it was necessary to build a house with carvings, or a temple on the mountain, or to weave such lace that would take the breath away and light up the eyes of a distant great-great-granddaughter. Because man does not live by bread alone.”

This truth is professed by the best heroes of Belov and Rasputin, Shukshin and Astafiev, Mozhaev and Abramov. In their works, it is worth noting the pictures of the brutal devastation of the village, first during collectivization (“Eves” by V. Belov, “Men and Women” by B. Mozhaev), then during the war years (“Brothers and Sisters” by F.

Abramov), during the post-war hard times (“Two Winters and Three Summers” by F. Abramov, “Matrenin’s Court” by A. Solzhenitsyn, “Business as Usual” by V.

Belova). The writers showed the imperfection and disorder of the heroes' everyday life, the injustice perpetrated against them, their complete defenselessness, which could not but lead to the extinction of the Russian village. “There is neither subtracting nor adding here. This is how it was on earth,” A. will say about this.

Tvardovsky. The “information for thought” contained in the “Appendix” to Nezavisimaya Gazeta (1998, 7) is eloquent: “In Timonikha, the native village of the writer Vasily Belov, the last man, Faust Stepanovich Tsvetkov, died. Not a single man, not a single horse. Three old women." And a little earlier, Novy Mir (1996, 6) published Boris Ekimov’s bitter, difficult reflection “At the Crossroads” with dire forecasts: “The poor collective farms are already eating up tomorrow and the day after tomorrow, dooming those who will live on this land to even greater poverty after them, the degradation of the peasant is worse than the degradation of the soil.

And she is there." Such phenomena made it possible to talk about “Russia, which we lost.” So the “village” prose, which began with the poeticization of childhood and nature, ended with the consciousness of a great loss. It is no coincidence that the motif of “farewell”, “last bow”, reflected in the titles of the works (“Farewell to Matera”, “Last term” by V.

Rasputin, “The Last Bow” by V. Astafiev, “The Last Sorrow”, “The Last Old Man of the Village” by F.

Abramov), and in the main plot situations of the works, and in the premonitions of the heroes. F.

Abramov often said that Russia was saying goodbye to the village as to its mother. In order to highlight the moral issues of works of “village” prose, we will pose the following questions to eleventh-graders: - What pages of novels and stories by F. Abramov, V. Rasputin, V.

Astafiev, B. Mozhaev, V. Belov written with love, sadness and anger? - Why did the man of the “hardworking soul” become the primary hero of “village” prose?

Tell us about it. What worries him? What questions do the heroes of Abramov, Rasputin, Astafiev, Mozhaev ask themselves and us, the readers?