Shukshin is a bright representative of village prose. "Village" writers: Fyodor Aleksandrovich Abramov, Vasily Ivanovich Belov, Ivan Ivanovich Akulov

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The genre of village prose has a big difference from existing genres in Russian literature.

For example, this type of genre is practically absent in foreign literature. There are a huge number of works of this genre in Russian literature, because this genre has become popular and more readable. Since readers are interested in the issues described in novels of this genre. This is a description of nature, mutual understanding of people and numerous problems that concern us today. Many authors tried to write in the genre of village prose. For example, such great writers as Rasputin, Astafiev and Shukshin. It can be noted that his extraordinary creativity captivates us even in the 21st century, since a large number of both teenagers and adults, not only in Russia, but also abroad, prefer to read his work. After all, this is a great rarity, the discovery of such a great and famous poet who sincerely loved his homeland, his land and his village.

Vasily Shukshin himself was born in 1929, in the small village of Srostki, Altai Territory. And in his work he describes the entire landscape of his beloved and native land. After all, Shukshin truly knew how to respect human labor, appreciate his native village, and thus began to understand the harsh prose of village life. Shukshin's works touch the soul. It hurt him to the core when his work was not understood by readers. He tried to convey to them the whole truth of human life.

The first lines from his creative life began with a description of his beloved village life, which later gave impetus to the development of his creativity. Shukshin, being already a famous writer, could not sit without work, he took on any job: he was a loader, a laborer, a builder, and he mastered many other professions.

Many considered Vasily Shukshin a comic writer, but every year they became convinced of the opposite statement. The changes that took place in the 20th century constituted Shukshin’s strong creative side.

Summing up, we can definitely say that Vasily Markovich Shukshin always tried to teach goodness. He lived with these convictions, and in his work he tried to convey all his good inner feelings.

Several interesting essays

Essay: Money must be managed, not served.
Money is the equivalent of time worked, payment for a completed product. Once upon a time in ancient times there was no money, there was natural exchange. Then people wised up and invented money.
Composition of Mercutio in Shakespeare's tragedy Romeo and Juliet
The tragedy “Romeo and Juliet” is considered one of the main works of William Shakespeare. In the work, the author portrayed several main characters. In the tragedy, the author described aggression, hostility and senselessness
Essay Lyubov Lyubimovna in the story of Mumu Turgenev
The image of Lyubov Lyubimovna in Turgenev’s work “Mumu” turned out to be quite ambiguous, because the author had a goal to specifically make it just that way.
Pechorin's attitude towards Bela in the novel A Hero of Our Time
Bela is a minor heroine of Mikhail Yuryevich Lermontov’s novel “A Hero of Our Time.” All minor characters reflect the character of the main character - Pechorin.
Essay Computer Science is my favorite school subject (reasoning)
I can’t even say for sure what my favorite class is at school... But I still like computer science. She is less disliked. I really love playing computer games, that's true. Although mom says it's not very good!

The theme of Russia's historical path in the story by V.S. Grossman "Everything Flows"

“House on the Embankment” Yu.V. Trifonov

Yuri Valentinovich Trifonov (1925-1981, Moscow) - Soviet writer, master of “urban” prose, one of the main figures in the literary process of the 1960s-1970s in the USSR.

Trifonov's prose is often autobiographical. Its main topic is the fate of the intelligentsia during the years of Stalin's reign, understanding the consequences of these years for the morality of the nation. Trifonov's stories, without saying anything directly, in plain text, nevertheless reflected the world of a Soviet city dweller in the late 1960s - mid-1970s with rare accuracy and skill.

The writer's books were published small by the standards of the 1970s. circulation (30-50 thousand copies), were in great demand; readers queued up in libraries for magazines with publications of his stories. Many of Trifonov's books were photocopied and distributed in samizdat. Almost every work of Trifonov was subject to strict censorship and was difficult to allow for publication.

On the other hand, Trifonov, considered the extreme left flank of Soviet literature, outwardly remained a quite successful officially recognized writer. In his work, he in no way encroached on the foundations of Soviet power. So it would be a mistake to classify Trifonov as a dissident.

Trifonov's writing style is leisurely, reflective, he often uses retrospectives and changes in perspective; The writer places the main emphasis on a person with his shortcomings and doubts, refusing any clearly expressed socio-political assessment.

It was “The House on the Embankment” that brought the writer the greatest fame - the story described the life and morals of the residents of a government building in the 1930s, many of whom, having moved into comfortable apartments (at that time, almost all Muscovites lived in communal apartments without amenities, often even without toilets, they used a wooden riser in the yard), straight from there they ended up in Stalin’s camps and were shot. The writer's family also lived in the same house. But there are discrepancies in the exact dates of residence. "IN 1932 the family moved to the famous Government House, which after more than forty years became known throughout the world as the “House on the Embankment” (after the title of Trifonov’s story).”

In an interview that followed the publication of “House on the Embankment,” the writer himself explained his creative task as follows: “To see, to depict the passage of time, to understand what it does to people, how it changes everything around... Time is a mysterious phenomenon, to understand and imagine it is as difficult as imagining infinity... I want the reader to understand: this mysterious “thread connecting time” passes through you and me, which is the nerve of history.” “I know that history is present in every today, in every human destiny. It lies in broad, invisible, and sometimes quite clearly visible layers in everything that shapes modernity... The past is present both in the present and in the future.”

Analysis of the specific character of the hero in the story “House on the Embankment”

The writer was deeply concerned about the socio-psychological characteristics of modern society. And, in essence, all of his works of this decade, whose heroes were mainly intellectuals of the big city, are about how difficult it is sometimes to preserve human dignity in the complex, sucking intertwining of everyday life, and about the need to preserve the moral ideal in any circumstances of life.

Time in The House on the Embankment determines and directs the development of the plot and the development of characters; people are revealed by time; time is the main director of events. The prologue of the story is openly symbolic in nature and immediately defines the distance: “... the shores change, the mountains recede, the forests thin and fly away, the sky darkens, the cold approaches, we must hurry, hurry - and there is no strength to look back at what has stopped and froze like a cloud at the edge of the sky"

The main time of the story is social time, on which the hero of the story feels dependent. This is a time which, by taking a person into submission, seems to free the individual from responsibility, a time on which it is convenient to blame everything. “It’s not Glebov’s fault, and not the people,” goes the cruel internal monologue of Glebov, the main character of the story, “but the times. This is the way with times that doesn’t go well” P.9.. This social time can radically change a person’s fate, elevate him or drop him to where now, 35 years after his “reign” at school, a drunken man sits on his haunches, literally and figuratively In the sense of the word, Levka Shulepnikov has sunk to the bottom, having lost even his name “Efim is not Efim,” Glebov guesses. And in general, he is now not Shulepnikov, but Prokhorov. Trifonov considers the time from the late 30s to the early 50s not only as a certain era, but also as the fertile soil that formed such a phenomenon of our time as Vadim Glebov. The writer is far from pessimism, nor does he fall into rosy optimism: man, in his opinion, is an object and, at the same time, a subject of the era, i.e. shapes it.

Trifonov closely follows the calendar; it is important to him that Glebov met Shulepnikov “on one of the unbearably hot August days of 1972,” and Glebov’s wife carefully scratches in childish handwriting on jars of jam: “gooseberry 72,” “strawberry 72.”

From the burning summer of 1972, Trifonov returns Glebov to those times with which Shulepnikov still “says hello”.

Trifonov moves the narrative from the present to the past, and from modern Glebov restores the Glebov of twenty-five years ago; but through one layer another is visible. The portrait of Glebov is deliberately given by the author: “Almost a quarter of a century ago, when Vadim Aleksandrovich Glebov was not yet bald, plump, with breasts like a woman’s, with thick thighs, a large belly and sagging shoulders... when he was not yet tormented by heartburn in the morning, dizziness, a feeling of exhaustion throughout his body, when his liver was working normally and he could eat fatty foods, not very fresh meat, drink as much wine and vodka as he wanted, without fear of consequences... when he was quick on his feet, bony, with long hair, round glasses, his appearance resembled a commoner from the seventies... in those days... he was unlike himself and inconspicuous, like a caterpillar" P.14..

Trifonov visibly, in detail down to physiology and anatomy, down to the “livers”, shows how time flows like a heavy liquid through a person, similar to a vessel with a missing bottom, connected to the system; how it changes its appearance, its structure; shines through the caterpillar from which the time of today's Glebov, a doctor of sciences, comfortably settled in life, was nurtured. And, turning the action back a quarter of a century, the writer seems to stop the moment.

From the result, Trifonov returns to the reason, to the roots, to the origins of “Glebism”. He returns the hero to what he, Glebov, hates most in his life and what he does not want to remember now - to childhood and youth. And the view “from here,” from the 70s, allows us to remotely examine not random, but regular features, allowing the author to concentrate his influence on the image of the time of the 30s and 40s.

Trifonov limits the artistic space: basically the action takes place on a small heel between a tall gray house on Bersenevskaya embankment, a gloomy, gloomy building, similar to modernized concrete, built in the late 20s for responsible workers (Shulepnikov lives there with his stepfather, there is an apartment Ganchuk), - and a nondescript two-story house in the Deryuginsky courtyard, where Gleb’s family lives.

Two houses and a platform between them form a whole world with its own heroes, passions, relationships, and contrasting social life. The large gray house shading the alley is multi-story. Life in it also seems to be stratified, following a floor hierarchy. One thing is the Shulepnikovs’ huge apartment, where you can almost ride a bicycle along the corridor. The nursery in which Shulepnikov, the youngest, lives is a world inaccessible to Glebov, hostile to him; and yet he is drawn there. Shulepnikov’s nursery is exotic for Glebov: it is filled with “some kind of scary bamboo furniture, with carpets on the floor, with bicycle wheels and boxing gloves hanging on the wall, with a huge glass globe that rotated when a light bulb was lit inside, and with an old telescope on window sill, well secured on a tripod for ease of observation” P.25.. In this apartment there are soft leather chairs, deceptively comfortable: when you sit down, you sink to the very bottom, what happens to Glebov when Levka’s stepfather interrogates him about who attacked in the yard for his son Lev, this apartment even has its own film installation. The Shulepnikovs’ apartment is a special, incredible, in Vadim’s opinion, social world, where Shulepnikov’s mother can, for example, poke a cake with a fork and announce that “the cake is stale” - with the Glebovs, on the contrary, “the cake was always fresh,” otherwise it wouldn’t be maybe a stale cake is completely absurd for the social class to which they belong.

The Ganchuk family of professors also lives in the same house on the embankment. Their apartment, their habitat is a different social system, also given through Glebov’s perceptions. “Glebov liked the smell of carpets, old books, the circle on the ceiling from the huge lampshade of a table lamp, he liked the walls armored to the ceiling with books and at the very top the plaster busts standing in a row like soldiers.”

Let's go even lower: on the first floor of a large house, in an apartment near the elevator, lives Anton, the most gifted of all the boys, not oppressed by the consciousness of his squalor, like Glebov. It’s no longer easy here - the tests are playful, half-childish. For example, walk along the outer eaves of the balcony. Or along the granite parapet of the embankment. Or through the Deryuginsky courtyard, where the famous robbers rule, that is, the punks from the Glebovsky house. The boys even organize a special society to test their will - TOIV...

The image of a village in the works of V.M. Shukshin and V.G. Rasputin.

In Russian literature, the genre of village prose is noticeably different from all other genres. In Russia, from ancient times, the peasantry occupied the main role in history: not in terms of power (on the contrary, the peasants were the most powerless), but in spirit - the peasantry was and, probably, remains the driving force of Russian history to this day.

Among contemporary authors who wrote or are writing in the genre of village prose - Rasputin (“Live and Remember”, “Farewell to Matera”), V. M. Shukshin (“Rural Residents”, “Lubavins”, “I came to give you freedom”). Vasily Makarovich Shukshin occupies a special place among writers covering the problems of the village. Shukshin was born in 1929 in the village of Srostki, Altai Territory. Thanks to his small homeland, Shukshin learned to appreciate the land, the work of man on this land, and learned to understand the harsh prose of rural life. 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 followed: in 1965 his novel “The Lyubavins” was published. As Shukshin himself said, he was interested in one topic - the fate of the Russian peasantry. He managed to touch a nerve, penetrate our souls and made us ask in shock: “What is happening to us?” The writer took material for his works from wherever people live. Shukshin admitted: “I am most interested in exploring the character of a non-dogmatic person, a person not trained 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. They have a heightened reaction to the humiliation of man by man, which takes on a variety of forms and sometimes 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 was insulted in a store 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...”). In such situations, Shukshin’s characters may even commit suicide (“Suraz”, “The wife saw off her husband to Paris”). Shukshin does not idealize his strange, unlucky heroes, but in each of them he finds something that is close to him. Shukshinsky’s hero, faced with a “narrow-minded gorilla,” may, in despair, grab a hammer himself in order to prove to the wrongdoer that he is right, and Shukshin himself may say: “Here you must 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 Shukshin conflict, when truth, conscience, honor cannot prove that they are who they are. The clashes between Shukshin's heroes become dramatic for themselves. Did Shukshin write the cruel and gloomy owners of the Lyubavins, the freedom-loving rebel Stepan Razin, old men and old women, did he talk about the inevitable departure of a person and his farewell to all earthly things, did he stage films about Pashka Kololnikov, Ivan Rastorguev, the Gromov brothers, Yegor Prokudin, did he portray his heroes against the backdrop of specific and generalized images: a river, a road, an endless expanse of arable land, a home, unknown graves. Gravity and attraction to the earth is the strongest feeling of the farmer, born with man, a figurative idea of its greatness and power, the source of life, the keeper of time and past generations. The earth is a poetically polysemantic image in Shukshin’s art. Associations and perceptions associated with it create an integral system of national, historical and philosophical concepts: about the infinity of life and the chain of generations stretching into the past, about the Motherland, about spiritual ties. The comprehensive image of the Motherland becomes the center of Shukshin’s entire work: the main collisions, artistic concepts, moral and aesthetic ideals and poetics. The main embodiment and symbol of the Russian national character for Shukshin was Stepan Razin. Exactly to him. Shukshin’s novel “I came to give you freedom” is dedicated to his uprising. 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 focus of the national characteristics of the Russian people. And Shukshin wanted to convey this precious discovery to the reader. Directing a film about Stepan Razin was his dream, and he returned to it constantly. 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 position as an artist. It was as if he felt that his heroes could not say everything, but they definitely had to say it. More and more sudden, non-fictional stories from himself, Vasily Makarovich Shukshin, appear. Such an open movement towards “unheard-of simplicity”, a kind of nakedness, is in the traditions of Russian literature. Here, in fact, there is no longer art, going beyond its limits, when the soul screams about its pain. Now stories are entirely the author's word. 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 a good deed,” he said.

The image of a village in the works of Rasputin

Nature has always been a source of inspiration for writers, poets, and artists. But few of their works dealt with the problem of nature conservation. V. Rasputin was one of the first to raise this topic. In almost all of his stories the writer touches on these issues. “July entered its second half, the weather remained clear, dry, and most merciful for mowing. They were mowing in one meadow, rowing in another, and even very nearby mowers were chirping and horse-drawn rakes with large curved teeth were bouncing and rattling. By the end of the day, they were exhausted from work, from the sun, and, moreover, from the sharp and viscous, fat smells of ripened hay. These smells reached the village, and there the people, taking in them with pleasure, fainted: oh, it smells, it smells!.. where, in what region can it smell like that?!” This is an excerpt from the story by Valentin Rasputin “ Farewell to Matera." The story begins with a lyrical introduction dedicated to the nature of his small homeland. Matera is an island and a village of the same name. Russian peasants inhabited this place for three hundred years. Life on this island goes on slowly, without haste, and over those three hundred plus years it has made many people happy. She accepted everyone, became a mother to everyone and carefully fed her children, and the children responded to her with love. And the residents of Matera did not need comfortable houses with heating, or a kitchen with a gas stove. They did not see happiness in this. If only I had the opportunity to touch my native land, light the stove, drink tea from the samovar. But Matera leaves, the soul of this world leaves. They decided to build a powerful power station on the river. The island fell into a flood zone. The entire village must be relocated to a new settlement on the banks of the Angara. But this prospect did not please the old people. Grandma Daria’s soul was bleeding, because she was not the only one who grew up in Matera. This is the homeland of her ancestors. And Daria herself considered herself the keeper of the traditions of her people. She sincerely believes that “they only gave Matera to us to keep... so that we would take good care of her and feed her.” And the old people stand up to defend their homeland. But what can they do against the all-powerful boss, who gave the order to flood Matera and wipe it off the face of the Earth? To strangers, this island is just a piece of land. And young people live in the future and calmly part with their small homeland. Thus, Rasputin connects the loss of conscience with a person’s separation from the land, from his roots, from age-old traditions. Daria comes to the same conclusion: “There are a lot more people, but the conscience is the same... But our conscience has grown old, she has become an old woman, no one looks at her... What about conscience, if this happens! “Rasputin also talks about excessive deforestation in his story “Fire.” The main character is concerned about people’s lack of habit of work, their desire to live without putting down deep roots, without a family, without a home, the desire to “grab more for themselves.” The author highlights the “uncomfortable and unkempt” appearance of the village, and at the same time the decay in the souls of people, the confusion in their relationships. Rasputin paints a terrible picture, depicting the Arkharovites, people without conscience, who gather together not for business, but for drinking. Even in a fire, they primarily save not flour and sugar, but vodka and colored rags. Rasputin specifically uses the plot device of fire. After all, from time immemorial fire has united people, but in Rasputin we see, on the contrary, disunity between people. The ending of the story is symbolic: the kind and reliable grandfather Misha Khamko was killed while trying to stop the thieves, and one of the Arkharovites was also killed. And these are the Arkharovites who will stay in the village. But will the earth really stand on them? This is the question that forces Ivan Petrovich to abandon his intention to leave the village of Sosnovka. Who then can the author rely on, what people? Only on people like Ivan Petrovich - a conscientious, honest person who feels a blood connection with his land. “A person has four supports in life: a home and family, work, people with whom you celebrate holidays and everyday life, and the land on which your house stands,” such is his moral support, such is the meaning of this hero’s life. “No land is can be rootless. Only the person himself can make it this way” - and Ivan Petrovich understood this. Rasputin forces his hero and us, the readers, to reflect on this problem with him. “The truth stems from nature itself; it cannot be corrected either by general opinion or by decree,” this is how the inviolability of the natural elements is affirmed. “Cutting down a forest is not sowing bread” - these words, sadly enough, cannot penetrate the “armor” of the timber industry plan. But a person will be able to understand the depth and seriousness of the problem posed by these words. And Ivan Petrovich does not turn out to be soulless: he does not abandon his small homeland to ruin and desolation, but takes the “right road” to help the Angara and its coastal forests. That is why the hero experiences ease in movement, spring in his soul. “What are you, our silent land, how long are you silent? And are you silent? - these are the last lines of “Fire”. We must not be deaf to her pleas and requests, we must help her before it is too late, because she is not omnipotent, her patience is not eternal. Sergei Zalygin, a researcher of V.’s creativity, also speaks about this. Rasputin, and Rasputin himself with his works. It may happen that nature, which has endured for so long, will not stand it, and the problem will end not in our favor.

Village prose by V. Shukshin
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, the peasantry 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.

Modern rural prose plays a big 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 ("The Fish Tsar", "The Shepherd and the Shepherdess"), Valentin Grigorievich Rasputin ("Live and Remember", "Farewell to Matera" ), Vasily Makarovich Shukshin ("Village Residents", "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.

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 is thanks to his small homeland

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 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”).

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 due to 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 guy 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., etc.

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.

1. Introduction……………………………………………………………........….3
2. Village prose by V. Shukshin…………………………………….…….4-10
3. Conclusion……………………………………………………….……….….11
4. List of references used

Files: 1 file

1. Introduction……………………………………………………………………………… ……........….3

2. Village prose by V. Shukshin…………………………………….…….4- 10

3. Conclusion…………………………………………………… ….……….….11

4. List of references………………………………..…..…… 12

Introduction.

Modern rural prose plays a big 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 (“Village Residents”, “Lyubavins”, “I Came to Give You Freedom”) and others.

The heroes of Shukshin's books and films are people of the Soviet village, simple workers with unique characters, observant and sharp-tongued. One of his first heroes, Pashka Kolokolnikov (“There Lives Such a Guy”) is a village driver, in whose life “there is room for heroism.” Some of his heroes can be called eccentrics, people “not of this world” (the story “Microscope”, “Crank”). Other characters passed the difficult test of imprisonment (Yegor Prokudin, “Kalina Krasnaya”).

Shukshin’s works provide a laconic and succinct description of the Soviet village; his work is characterized by a deep knowledge of the language and details of everyday life; deep moral problems and universal human values often come to the fore (the stories “The Hunt to Live”, “Space, the Nervous System and Shmata of Lard” )

Village prose by V. Shukshin.

Shukshin’s stories, thematically related to “village prose,” differed from its main stream in that the author’s attention was focused not so much on the foundations of folk morality, but on the complex psychological situations in which the heroes found themselves. The city both attracted Shukshin’s hero as a center of cultural life, and repelled him with its indifference to the fate of an individual. Shukshin felt this situation as a personal drama. “So it turned out for me by the age of forty,” he wrote, “that I am not completely urban, and no longer rural. A terribly uncomfortable position. It’s not even between two chairs, but rather like this: one foot on the shore, the other in the boat. And it’s impossible not to swim, and it’s kind of scary to swim...” Shukshin’s books, in the writer’s own words, became the “history of the soul” of a Russian person.

The main genre in which Shukshin worked was a short story, which was either a small psychologically accurate scene built on expressive dialogue, or several episodes from the life of the hero.

Shukshin wrote about the Russian peasant, about Russia, the Russian national character.

Main themes:

Ø Contrast between city and countryside;

Ø “Bright Souls”;

Ø Love;

Ø “Freaks”;

Ø The meaning of life;

Ø Peasant children;

Ø Russian peasant woman.

The above topics do not exhaust the entire thematic diversity of V. Shukshin’s “village” stories. In addition, many stories, being thematically diverse, can be attributed not to one, not to two, but to several topics.

Heroes of Shukshin

V. Shukshin’s first attempt to understand the destinies 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.

Shukshin called his heroes “strange people”, “unlucky people”. The name “eccentric” (based on the story of the same name, 1967) has taken root in the minds of readers and critics. It is the “eccentrics” who are the main characters of the stories collected by Shukshin into one of his best collections, “Characters.”

The heroes of the stories were usually villagers who in one way or another encountered the city, or, conversely, city dwellers who found themselves in the village. At the same time, a village person is most often naive, simple-minded, and friendly, but the city does not greet him kindly and quickly ends all his good impulses.

This situation is most clearly presented in the story “Weird” (1967). The main point of Shukshin’s worries is resentment for the village.

Shukshin does not idealize the village: he encounters quite a few quite repulsive types of the most peasant origin (for example, in the stories “Eternally Dissatisfied Yakovlev” (1974), “Cut the Cut,” “Strong Man” (1970) and others). Shukshin said that he felt like a person “who has one foot on the shore and the other in the boat.” And he added: “... this situation has its “advantages”... From comparisons, from all sorts of “here and there” and “here and there” thoughts involuntarily come not only about the “village” and the “city” - about Russia."

The Russian man in Shukshin’s stories is often latently dissatisfied with his life, he feels the onset of standardization of everything and everyone, dull and boring philistine averageness and instinctively tries to express his own individuality - often with strange actions. A certain Bronka Pupkov from the story “Pardon me, madam!” (1968) comes up with a whole fascinating story about how during the war he allegedly received a special task to kill Hitler himself, and what came of it. Let the whole village laugh and be indignant, but Bronka over and over again presents this story to visitors from the city - because then, at least for a moment, he himself can believe that he is a valuable person, because of whom the course of world history almost changed...

But Alyosha Beskonvoyny from the story of the same name (1973) wins for himself on the collective farm the right to a non-working Saturday, so that every time he can devote it entirely to... the bathhouse. For him, this bathing day becomes the main and favorite day of the week - because then he belongs only to himself, and not to the collective farm, not to the family - and alone with himself he can calmly indulge in memories, reflect on life, dream...

And someone invents a perpetual motion machine in their spare time (“Uporny”, 1973); someone - with their hard-earned money, earned through overtime work - buys a microscope and dreams of inventing a remedy against microbes (“Microscope”, 1969)... Why is it that rural residents so often no longer see the meaning of their existence in the earth, like their ancestors, why do they either leave for the cities (even though they have hard times there), or direct all their thoughts to the same microscopes and perpetual motion machines? Shukshin, although he once remarked: “We “plow” shallowly, we do not understand the importance of the owner of the land, a worker not by hire, but by conviction,” he usually does not analyze the socio-historical reasons for this situation. He, according to the same Anninsky’s definition, simply “exposes his confusion.”

Shukshin's stories are often based on the contrast between the external, everyday, and internal, spiritual content of life.

The life values of Shukshin's heroes and their view of the world do not coincide with the philistine ones. Sometimes these heroes are funny and funny, sometimes they are tragic. “The most interesting thing for me,” Shukshin wrote, “is to explore the character of a non-dogmatic person, a person not trained 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...”

Shukshin does not try to aestheticize or idealize his eccentrics; he does not just show interest in the diversity of human characters, the complexity of human nature. Shukshin seems to be trying to justify, “legalize” behavior that seems strange and abnormal. His eccentrics carry within them both the spiritual dissatisfaction of the Soviet people and the eternal Russian national longing for the meaning of human life.

As a rule, Shukshin's heroes are losers. But their unluckiness, everyday failure is a kind of principle, a life position.

The hero of the story “The Freak” and his brother are not understood by their own wives and the people around them. Wanting to please his daughter-in-law, who dislikes him, Chudik paints a baby stroller, which angers the woman, who kicks him out of the house. An unassuming attempt to bring beauty into a house where anger and irritation live ends in yet another failure. But the ending of the story is interesting, when Chudik, who had traveled such a long way to his brother for two days of such a disastrous stay, returns to his native village: “Crank came home when it was raining in a steamy rain. The weirdo got off the bus, took off his new shoes, and ran along the warm wet ground - a suitcase in one hand, boots in the other. He jumped up and sang loudly: Poplars-a-a, poplars-a-a... At one end the sky had already cleared, turned blue, and the sun was close somewhere. And the rain thinned out, splashing in large drops into the puddles; Bubbles swelled and burst in them. In one place, Chudik slipped and almost fell. His name was Vasily Yegorych Knyazev. He was thirty-nine years old. He worked as a projectionist in the village. He loved detectives and dogs. As a child I dreamed of becoming a spy."

So much kindness, childishness, almost holy foolishness; how much simple joy of being there is in the hero of the story!

The plot of the story “Microscope” at first seems like a funny joke. Its hero, a simple carpenter Andrei Erin, buys a microscope, which he gets dearly: first he tells his wife that he lost money, and, having withstood the attack of a woman armed with a frying pan, he works overtime for a month; then he brings a microscope into the house, saying that this is a bonus for hard work. Having brought a microscope, he begins to study everything: water, soup, sweat - and finds microbes everywhere. His eldest son, a fifth-grader, is enthusiastically engaged in “research” with his father, and even his wife develops some respect for him (“You will, my dear, sleep with a scientist...” the hero tells her, suddenly turning from a silent “henpecked man” oppressed by his aggressive wife into the “noisy owner” in the house, and “Zoe Erina... was flattered that people in the village were talking about her husband, a scientist”).

Wanting to find some universal remedy to save the world from germs, this illiterate working man spends his free time not behind a bottle, but behind a microscope with his son, and both of them are absolutely happy. Suddenly the wife discovers the truth about the origin of the microscope. In order to avoid another collision with a frying pan, the hero runs away from home for the night, and upon returning, he learns from his son that his wife went to the city to sell a microscope to a thrift store in order to buy fur coats for her younger children. Of course, the hero understands that this is much more reasonable... But something happened to his soul. “It will sell. Yes... I need fur coats. Well, okay - fur coats, okay. Nothing... It is necessary, of course...” - with such unconvincing self-hypnosis of the hero the story ends, the plot and the hero of which no longer seem funny.

The story “The Resentment” begins with an ordinary everyday situation, but its importance is stated by the first line of the story: “Sashka Ermolaev was offended.” But the hero of the story does not behave like “normal people”: he does not “swallow” the insult in silence, does not cry it out to his loved ones, does not offend the offender in return, but tries to explain to people that they were wrong, tries to understand why they acted this way, and show them that it is not good to do this. As I. Zolotussky accurately noted, “Shukshin’s hero is always on guard...his own dignity, which is most dear to him”9. The strange general deafness, the unjustified aggressiveness of the “wall of people” gradually brings him to the state in which he can commit a crime, hammer his truth into the head of a person who cannot hear words. The question that torments the hero most of all: “What is going on with people?” Resentment forces him to “put down the very meaning of life,” and this is typical of Shukshin’s stories, in which everyday trifles grow into existentiality.

They are all very different - these people are the heroes of a great novel about Russia. They search, bang their heads against the wall, destroy and build churches, drink, shoot, sing for joy in the steamy rain, forgiving people for accidental and deliberate insults, caress children and dream of doing something significant. But the main thing is that they all break out of the framework of organized existence, in which “all people live the same way.”

Shukshin himself admitted: “I am most interested in exploring the character of a non-dogmatic person, a person not trained 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.

Conclusion.

Vasily Makarovich can rightfully be called a “nugget” of the Altai land. He is like a precious stone that attracted people to him with his natural talent. He lived excitedly, as if he felt the cold breath of death behind him. And for half a century there has not been such an artist who burst into the human soul.

Vasily Shukshin managed to create a new image of the peasant in his prose. He is a man with a big soul, he is independent and a little eccentric. These qualities of Shukshin’s heroes captivate us when we read his works. “If we are strong and truly smart in anything, it is in a good deed,” said Vasily Shukshin. The work of the writer himself clearly proves this.