Once upon a time there was a saying: "Beauty will save the world." There is a lot of beauty in nature and there is more and more, but the beauty in the souls disappears, it is replaced by emptiness, greed, soullessness. Without moral foundations, the meaning of life is not entirely clear and, perhaps, society is degrading. Once upon a time there was a saying: "Beauty will save the world." There is a lot of beauty in nature and there is more and more, but the beauty in the souls disappears, it is replaced by emptiness, greed, soullessness. Without moral foundations, the meaning of life is not entirely clear and, perhaps, society is degrading. The world is on the verge of collapse, therefore, morality is a paramount task in the education of young people, and indeed of all mankind. The world is on the verge of collapse, therefore, morality is a paramount task in the education of young people, and indeed of all mankind. In our society, there is a need to talk and think about the relationship between people, about the meaning of life, which is so painfully comprehended by the heroes and heroines of V. Rasputin's stories and stories. Now at every step we encounter the loss of human qualities: conscience, duty, mercy, kindness. And in the works of Rasputin, we find situations close to modern life, and they help us understand the complexity of this problem. In our society, there is a need to talk and think about the relationship between people, about the meaning of life, which is so painfully comprehended by the heroes and heroines of V. Rasputin's stories and stories. Now at every step we encounter the loss of human qualities: conscience, duty, mercy, kindness. And in the works of Rasputin, we find situations close to modern life, and they help us understand the complexity of this problem. Moral. Relevant today

What makes a person a writer is his childhood, the ability at an early age to see and feel everything that then gives him the right to take up a pen. Education, books, life experience educate and strengthen this gift in the future, but it should be born in childhood, "wrote Valentin Rasputin. A person's writer is made by his childhood, the ability at an early age to see and feel everything that then gives him the right to take up pen. Education, books, life experience educate and strengthen this gift in the future, but it should be born in childhood, "wrote Valentin Rasputin.

Russian writer Valentin Grigoryevich Rasputin was born on March 15, 1937 in the lower reaches of the Angara River. He lived in difficult times. All his childhood was spent during the Great Patriotic War. It was during these years that his character began to take shape. Before his eyes, a country was rising from the ruins. And all this voluntarily or not voluntarily reflected in his works. They intertwine the motives of tragedy and the reality of everyday days, images of people who know how to live in harmony with themselves and conscience. The writer in his works shows not only the outcome of life, but somehow prepares for it. According to him, life, not confirmed by meaning, is a random existence. Therefore, all the variety of images in the works of Rasputin is a consequence of the interesting and eventful life he lived! Russian writer Valentin Grigoryevich Rasputin was born on March 15, 1937 in the lower reaches of the Angara River. He lived in difficult times. All his childhood was spent during the Great Patriotic War. It was during these years that his character began to take shape. Before his eyes, a country was rising from the ruins. And all this voluntarily or not voluntarily reflected in his works. They intertwine the motives of tragedy and the reality of everyday days, images of people who know how to live in harmony with themselves and conscience. The writer in his works shows not only the outcome of life, but somehow prepares for it. According to him, life, not confirmed by meaning, is a random existence. Therefore, all the variety of images in the works of Rasputin is a consequence of the interesting and eventful life he lived!

Morality in the Works In the work of Valentin Rasputin, moral quests occupy a significant place. His works present this problem in all its breadth and versatility. The author himself is a deeply moral person, as evidenced by his active social life. In the work of Valentin Rasputin, moral quests occupy a significant place. His works present this problem in all its breadth and versatility. The author himself is a deeply moral person, as evidenced by his active social life. Rasputin is one of those writers whose work is addressed to a person, to the depths of his consciousness and subconsciousness, to the values ​​that have been formed and preserved in people's life for centuries. In the XX century. these values ​​are under threat for various reasons. How to restore harmony with the world, find the meaning of life, understand what is happening to us? Rasputin reflects on these and other moral problems. Rasputin is one of those writers whose work is addressed to a person, to the depths of his consciousness and subconsciousness, to the values ​​that have been formed and preserved in people's life for centuries. In the XX century. these values ​​are under threat for various reasons. How to restore harmony with the world, find the meaning of life, understand what is happening to us? Rasputin reflects on these and other moral problems.

French lessons The teacher, Lidia Mikhailovna, plays with her student for money. What is it: a crime or an act of kindness and mercy? Definitely don't answer. Life is much more complex tasks than a person can solve. And there is no only white and black, good and bad. The world is multicolored, it has a lot of shades. Lidia Mikhailovna is an unusually kind and sympathetic person. She tried every honest way to help her talented student. But he considers it humiliating for himself to accept help from a teacher, but he does not refuse to earn money. And then Lidia Mikhailovna deliberately commits a crime from the point of view of pedagogy, plays with him for money. she knows for sure that he will beat her, get his coveted ruble, buy milk, which he needs so much. So it turns out that this is not a crime at all, but a good deed. ! This story teaches people compassion. And the fact that it is necessary not only to sympathize with a person who is having a hard time, but also to help him to the best of his ability, while at the same time not offending his pride. The teacher, Lidia Mikhailovna, plays with her student for money. What is it: a crime or an act of kindness and mercy? Definitely don't answer. Life is much more complex tasks than a person can solve. And there is no only white and black, good and bad. The world is multicolored, it has a lot of shades. Lidia Mikhailovna is an unusually kind and sympathetic person. She tried every honest way to help her talented student. But he considers it humiliating for himself, to accept help from a teacher, but does not refuse to earn money. And then Lidia Mikhailovna deliberately commits a crime from the point of view of pedagogy, plays with him for money. she knows for sure that he will beat her, get his coveted ruble, buy milk, which he needs so much. So it turns out that this is not a crime at all, but a good deed. ! This story teaches people compassion. And the fact that it is necessary not only to sympathize with a person who is having a hard time, but also to help him to the best of his ability, while at the same time not offending his pride.

Deadline In this story, Rasputin exposed the vices of society. He raises such moral issues as: relationships within the family, respect for parents, raised the question of conscience and honor. In this story, Rasputin exposed the vices of society. He raises such moral issues as: relationships within the family, respect for parents, raised the question of conscience and honor.

In the story "The Deadline" Rasputin vividly managed to convey the entire life path of a simple Russian woman. Not lost dignity even being at death. She forgives everyone. He forgives his son Michael for the wrong way of life. Although her character is severe, she feels joy at the sight of her children, who have not visited her for a long time, while pride appears in her eyes. She feels a sense of tenderness and affection at the sight of her granddaughter, rejoices in the sun. She has no fear of death. And only the desire to see her youngest daughter keeps the passing life in her. Upon learning that her daughter will not come, the old woman realizes that nothing else keeps her in this world.! And her own children, who did not believe her in her premonitions about the approaching death, leave her. And she dies in her sleep feeling alone and abandoned. From all this it is very, very painful in my soul, for a woman who gave life to many people, lived a difficult, hard life and was left alone in the last hours of her life. In the story "The Deadline" Rasputin vividly managed to convey the entire life path of a simple Russian woman. Not lost dignity even being at death. She forgives everyone. He forgives his son Michael for the wrong way of life. Although her character is severe, she feels joy at the sight of her children, who have not visited her for a long time, while pride appears in her eyes. She feels a sense of tenderness and affection at the sight of her granddaughter, rejoices in the sun. She has no fear of death. And only the desire to see her youngest daughter keeps the passing life in her. Upon learning that her daughter will not come, the old woman realizes that nothing else keeps her in this world.! And her own children, who did not believe her in her premonitions about the approaching death, leave her. And she dies in her sleep feeling alone and abandoned. From all this it is very, very painful in my soul, for a woman who gave life to many people, lived a difficult, hard life and was left alone in the last hours of her life.

Live a century - love a century The title sets the leading theme of the story of love for everything around. The work is about an important stage in the life of the protagonist, fifteen-year-old Sanya, the stage of growing up and realizing his place on earth. The story begins with the hero's reflections on the deep meaning of the word "independence", "to stand on your own feet in life, without props and tips." The title sets the leading theme of the story of love for everything around. The work is about an important stage in the life of the protagonist, fifteen-year-old Sanya, the stage of growing up and realizing his place on earth. The story begins with the hero's reflections on the deep meaning of the word "independence", "to stand on your own feet in life, without props and tips."

He makes the first adult decision: "to keep the answer for himself in life." The boy is burdened by parental care, and although there is no conflict between “fathers” and “children” in the work, there is a misunderstanding of each other. Sanya is offended by the attitude towards him, as if he were a small child. Circumstances develop in such a way that the boy, who came to Baikal in August, was left completely alone (the grandmother went to her sick daughter) and "gained an amazing ability to look back at this world." He makes the first adult decision: "to keep the answer for himself in life." The boy is burdened by parental care, and although there is no conflict between “fathers” and “children” in the work, there is a misunderstanding of each other. Sanya is offended by the attitude towards him, as if he were a small child. Circumstances develop in such a way that the boy, who came to Baikal in August, was left completely alone (the grandmother went to her sick daughter) and "gained an amazing ability to look back at this world." Live a century - love a century

The event underlying the plot is the boy's campaign for a dove, but the main thing in the story is not this side, but what happens in the soul of the hero and his mind. It is through the eyes of Sanya that the reader sees the desolation of the settlements after the creation of the Irkutsk reservoir, and the beauty of the Baikal taiga, and the virtues and vices of people hidden from view. The campaign for berries became for the hero a real discovery of the world, people, himself. "Sanya's first night in the taiga and what a night!" awakens in a teenager new, previously unknown to him feelings and the feeling that "he has been here." The thought of the “originally” existing memory does not let the boy go: “life is a memory of the path invested in a person from birth.” That is why the hero recognizes places that he has not actually been to, and sees "all the confusion and all the movement of the world, all its inexplicable beauty and passion." However, the opportunity to find harmony with the world exists only where the man-transformer has not yet invaded, such was the conclusion of the boy. Civilization destroys nature and changes man. This is how ecological and moral issues are connected in the story.! The event underlying the plot is the boy's campaign for a dove, but the main thing in the story is not this side, but what happens in the soul of the hero and his mind. It is through the eyes of Sanya that the reader sees the desolation of the settlements after the creation of the Irkutsk reservoir, and the beauty of the Baikal taiga, and the virtues and vices of people hidden from view. The campaign for berries became for the hero a real discovery of the world, people, himself. "Sanya's first night in the taiga and what a night!" awakens in a teenager new, previously unknown to him feelings and the feeling that "he has been here." The thought of the “originally” existing memory does not let the boy go: “life is a memory of the path invested in a person from birth.” That is why the hero recognizes places that he has not actually been to, and sees "all the confusion and all the movement of the world, all its inexplicable beauty and passion." However, the opportunity to find harmony with the world exists only where the man-transformer has not yet invaded, such was the conclusion of the boy. Civilization destroys nature and changes man. This is how ecological and moral issues are connected in the story.! Live a century - love a century

Conclusion "The word must be brought to the light in order to see in it the grain of the original meaning." "The word must be brought to the light in order to see in it the grain of the original meaning." Russian writer Valentin Rasputin, with civic directness, raised the most pressing problems of the time, touched on its most painful points. Rasputin convincingly proved that the moral inferiority of an individual inevitably leads to the destruction of the foundations of the life of the people. This is the cruel truth of the works of Valentin Rasputin for me. Russian writer Valentin Rasputin, with civic directness, raised the most pressing problems of the time, touched on its most painful points. Rasputin convincingly proved that the moral inferiority of an individual inevitably leads to the destruction of the foundations of the life of the people. This is the cruel truth of the works of Valentin Rasputin for me.

Literature work
Morality in modern literature based on the work of V. Rasputin "Deadline".
The problem of morality in our time has become especially relevant. In our society, there is a need to talk and think about the changing human psychology, about the relationship between people, about the meaning of life, which the heroes and heroines of stories and stories so tirelessly and so painfully comprehend. Now at every step we encounter the loss of human qualities: conscience, duty, mercy, kindness.

In the works of Rasputin, we find situations close to modern life, and they help us understand the complexity of this problem. The works of V. Rasputin consist of "living thoughts", and we must be able to understand them, if only because for us it is more important than for the writer himself, because the future of society and each person individually depends on us.

The story "The Deadline", which V. Rasputin himself called the main of his books, touched on many moral problems, exposed the vices of society. In the work, V. Rasputin showed relationships within the family, raised the problem of respect for parents, which is very relevant in our time, revealed and showed the main wound of our time - alcoholism, raised the question of conscience and honor, which affected each hero of the story. The main character of the story is the old woman Anna, who lived with her son Mikhail. She was eighty years old. The only goal left in her life is to see all her children before her death and go to the next world with a clear conscience. Anna had many children. They all dispersed, but fate was pleased to bring them all together at a time when the mother was dying. Anna's children are typical representatives of modern society, people who are busy, have a family, a job, but for some reason very rarely remember their mother. Their mother suffered greatly and missed them, and when the time came to die, only for their sake she remained for a few more days in this world and she would have lived as long as she wanted, if only they were near. And she, already with one foot in the other world, managed to find the strength in herself to be reborn, to flourish, and all for the sake of her children. But what are they? And they solve their problems, and it seems that their mother does not really care, and if they are interested in her, it's only for decency. And they all live only for decency. Do not offend anyone, do not scold, do not say too much - all for decency, so as not worse than others. Each of them goes about his own business in difficult days for the mother, and the state of the mother worries them little. Mikhail and Ilya fell into drunkenness, Lusya walks, Varvara solves her problems, and none of them came up with the idea of ​​giving their mother more time, talking to her, just sitting next to them. All their concern for their mother began and ended with "semolina porridge", which they all rushed to cook. Everyone gave advice, criticized others, but no one did anything himself. From the very first meeting of these people, disputes and abuse begin between them. Lusya, as if nothing had happened, sat down to sew a dress, the men got drunk, and Varvara was even afraid to stay with her mother. And so the days passed: constant arguments and swearing, resentment against each other and drunkenness. This is how the children saw off their mother on her last journey, this is how they took care of her, this is how they cherished and loved her. They did not imbue the mother's state of mind, did not understand her, they only saw that she was getting better, that they had a family and a job, and that they needed to return home as soon as possible. They could not even say goodbye to their mother properly. Her children missed the "deadline" to fix something, ask for forgiveness, just be together, because now they are unlikely to get together again. In this story, Rasputin very well showed the relationship of the modern family and their shortcomings, which are clearly manifested at critical moments, revealed the moral problems of society, showed the callousness and selfishness of people, their loss of all respect and the usual feeling of love for each other. They, native people, are mired in anger and envy. They care only about their own interests, problems, only their own affairs. They do not even find time for close and dear people. They did not find time for the mother - the dearest person. For them, “I” comes first, and then everything else. Rasputin showed the impoverishment of the morality of modern people and its consequences.

The story "The Deadline", on which V. Rasputin began working in 1969, was first published in the magazine "Our Contemporary", in numbers 7, 8 for 1970. She not only continued and developed the best traditions of Russian literature - primarily the traditions of Tolstoy and Dostoevsky - but also imparted a new powerful impetus to the development of modern literature, setting her a high artistic and philosophical level. The story immediately came out as a book in several publishing houses, was translated into other languages, published abroad - in Prague, Bucharest, Milan. The play "Deadline" was staged in Moscow (at the Moscow Art Theater) and in Bulgaria. The glory brought to the writer by the first story was firmly fixed.

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Abstract on the topic:

"Moral problems in the works of V. Rasputin"

Completed: student 11 "B" class

Chubar Alexey Alexandrovich

Checked: Literature teacher

Bliznina Margarita Mikhailovna

Penza, 2008.

• 3
• "Farewell to Matera" 4
• "Money for Mary" 7
• "Deadline" 9
• "Live and Remember" 11
• Conclusion 13
• 14

The range of moral problems in the author's work

V. Astafiev wrote: "You must always start with yourself, then you will reach the general, national, universal problems." Apparently, Valentin Rasputin was guided by a similar principle in his career. He covers events and phenomena that are close to him in spirit, which he had to endure (the flooding of his native village in the work "Farewell to Matera"). Based on his personal experiences and observations, the author describes a very wide range of moral problems, as well as many different human characters, personalities who solve these problems in their own way.

Sergei Zalygin wrote that Rasputin's stories are distinguished by a special "artistic completeness" - completeness and completeness of "complexity". Whether it is the characters and relationships of the characters, whether it is the depiction of events - everything from beginning to end retains its complexity and does not replace the logical and emotional simplicity of any final, undeniable conclusions and explanations. The actual question is “who is to blame?” in the works of Rasputin does not receive a clear answer. As if instead of us the reader realizes the impossibility of such an answer; we guess that all the answers that come to mind are insufficient, unsatisfactory; they will not alleviate the burden in any way, they will not correct anything, they will not prevent anything in the future; we remain face to face with what happened, with that terrible, cruel injustice, and our whole being rebels against it ...

Rasputin's stories are an attempt to find something basic and decisive in the mentality and consciousness of modern man. The author goes to his goal, highlighting and solving in his works such moral problems as the problem of memory, the problem of the relationship between "fathers" and "children", the problem of love and attachment to the native land, the problem of pettiness, the problem of sympathy, compassion, mercy, conscience, the problem of the evolution of ideas about material values, a turning point in the spiritual life of mankind. It should be noted that the author does not have works devoted to any one of the above problems. Reading the novels and stories of Rasputin, we see a deep mutual penetration of various moral phenomena, their interconnection. Because of this, it is impossible to clearly identify one specific problem and characterize it. Therefore, I will consider the "tangle" of problems in the context of certain works, and in the end I will try to draw a conclusion on the moral issues of Rasputin's work as a whole.

"Farewell to Matera"

Each person has his own small homeland, that earth, which is the Universe and all that Matera has become for the heroes of the story by Valentin Rasputin. All the books of V.G. originate from love for a small homeland. Rasputin, so I would like to consider this topic first. In the story "Farewell to Matera" one can easily read the fate of the writer's native village - Atalanka, which fell into the flood zone during the construction of the Bratsk hydroelectric power station.

Matera is both an island and a village of the same name. Russian peasants settled in this place for three hundred years. Slowly, without haste, life goes on on this island, and for more than three hundred years, many people have been made happy by Matera. She accepted everyone, became a mother to everyone and carefully nursed her children, and the children answered her with love. And the inhabitants of Matera did not need either comfortable houses with heating or a kitchen with a gas stove. They did not see happiness in this. There would only be an opportunity to touch the native land, to heat the stove, to drink tea from a samovar, to live all my life next to the graves of my parents, and when the time comes, to lie down next to them. But Matera leaves, the soul of this world leaves.

Mothers stand up to protect their homeland, trying to save their village, their history. But what can the old men and women do against the almighty chief, who gave the order to flood Matera, wipe her off the face of the earth? For strangers, this island is just a territory, a flood zone.

Rasputin skillfully depicts scenes of parting people from the village. Let us read again how Yegor and Nastasya postpone their departure again and again, how they do not want to leave their native land, how Bogodul desperately fights to preserve the cemetery, because it is sacred for the inhabitants of Matera: back crosses, installed bedside tables.

All this once again proves that it is impossible to tear people away from the earth, from their roots, that such actions can be equated with brutal murder.

The main ideological character of the story is the old woman Daria. This is the man who until the end of his life, until his last minute, remained devoted to his homeland. This woman is a kind of keeper of eternity. Daria is a true national character. The thoughts of this dear old woman are very close to the writer. Rasputin gives her only positive features, simple and unpretentious speech. I must say that all the old-timers of Matera are described by the author with warmth. But it is in the voice of Daria that the author expresses his judgments regarding moral problems. This old woman concludes that a sense of conscience has begun to be lost in people and society. “There were a lot more people,” she reflects, “but the conscience, I suppose the same ... our conscience has grown old, the old woman has become, no one looks at her ... What about the conscience if such a thing is happening!”

The heroes of Rasputin connect the loss of conscience directly with the separation of man from the earth, from his roots, from centuries-old traditions. Unfortunately, only old men and women remained faithful to Matera. Young people live in the future and calmly part with their small homeland. Thus, two more problems are touched upon: the problem of memory and the peculiar conflict of "fathers" and "children".

In this context, “fathers” are people for whom a break with the earth is fatal, they grew up on it and absorbed love for it with their mother’s milk. This is Bogodul, and grandfather Yegor, and Nastasya, and Sima, and Katerina. “Children” are those young people who so easily left the village to the mercy of fate, a village with a history of three hundred years. This is Andrei, Petruha, Klavka Strigunova. As we know, the views of the "fathers" differ sharply from the views of the "children", so the conflict between them is eternal and inevitable. And if in Turgenev's novel "Fathers and Sons" the truth was on the side of the "children", on the side of the new generation, which sought to eradicate the morally decaying nobility, then in the story "Farewell to Matera" the situation is completely opposite: youth destroys the only thing that makes it possible preservation of life on earth (customs, traditions, national roots). This idea is confirmed by the words of Daria, expressing the idea of ​​the work: “The truth is in memory. He who has no memory has no life.” Memory is not just events recorded in the brain, it is a spiritual connection with something. The writer makes one wonder if a person who has left his native land, broken with his roots, will be happy, and, burning bridges, leaving Matera, will he not lose his soul, his moral support? Lack of connection with their native land, readiness to leave it and forget it like a “nightmare”, disdain for their small homeland (“It should have been drowned a long time ago. It doesn’t smell alive ... not people, but bedbugs and cockroaches. We found a place to live - in the middle of the water ... like frogs”) characterizes the characters not from the best side.

The outcome of the work is deplorable... A whole village disappeared from the map of Siberia, and with it the traditions and customs that for centuries formed the soul of a person, his unique character, were the roots of our life.

V. Rasputin touches on many moral issues in his story, but the fate of Matera is the leading theme of this work. Traditional here is not only the theme: the fate of the village, its moral principles, but also the characters themselves. The work largely follows the traditions of humanism. Rasputin is not against change, he does not try in his story to protest against everything new, progressive, but makes you think about such transformations in life that would not destroy the human in a person. Many moral imperatives are also traditional in the story.

"Farewell to Matera" is the result of an analysis of one social phenomenon, based on the author's memoirs. Rasputin explores the branching tree of moral issues that this event exposed. Like any humanist, in his story he addresses issues of humanity and solves many moral problems, and, which is not unimportant, establishes connections between them, demonstrates the inseparability, dependence on each other of the processes occurring in the human soul.

"Money for Mary"

For many of us, the concepts of "humanity" and "mercy" are inextricably linked. Many even identify them (which, however, is not entirely true). The humanist writer could not ignore the theme of mercy, and it is our reflection in the story “Money for Mary”.

The plot of the work is very simple. An emergency occurred in a small Siberian village: the auditor discovered a big shortage in the seller of Maria's store. It is clear to the auditor and fellow villagers that Maria did not take a penny for herself, becoming, most likely, a victim of the accounting launched by her predecessors. But, fortunately for the saleswoman, the auditor turned out to be a sincere person and gave five days to pay off the shortage. He took into account, apparently, both the woman's illiteracy and her disinterestedness, and most importantly, he took pity on the children.

This, it would seem, quite everyday situation shows human characters well. Maria's fellow villagers are holding a kind of mercy test. They are faced with a difficult choice: either help out their conscientious and always hardworking countrywoman by lending her money, or turn away, not notice the human misfortune, keeping their own savings. Money here becomes a kind of measure of human conscience. The work reflects the author's perception of various kinds of misfortunes. Rasputin's misfortune is not just a disaster. It is also a test of a person, a test that exposes the core of the soul. Here everything is highlighted to the bottom: both good and bad - everything is revealed without concealment. Such crisis psychological situations organize the dramaturgy of the conflict in this story and in other works of the writer.

In Maria's family, money has always been treated simply. Husband Kuzma thought: "Yes - good - no - well, okay." For Kuzma, "money was patches that are put on the holes necessary for living." He could think about stocks of bread and meat - one cannot do without this, but thoughts about stocks of money seemed to him amusing, buffoonish, and he brushed them aside. He was content with what he had. That is why when trouble knocked on his house, Kuzma does not regret the accumulated wealth. He thinks about how to save his wife, the mother of his children. Kuzma promises his sons: “We will turn the whole earth upside down, but we will not give up our mother. We are five men, we can do it.” Mother here is a symbol of the bright and sublime, incapable of any meanness. Mother is life. Protecting her honor and her dignity is what matters to Kuzma, not money.

But Stepanida has a completely different attitude to money. She is unbearable to part with a penny for a while. With difficulty gives money to help Maria and the director of the school Yevgeny Nikolaevich. Not a feeling of compassion for a fellow villager guides his act. He wants to strengthen his reputation with this gesture. He advertises his every step to the whole village. But mercy cannot coexist with rough calculation.

Thus, in the person of the head of the family, we see an ideal that we need to be equal to, solving questions about prosperity and its impact on people's consciousness, about family relationships, the dignity and honor of the family. The author again demonstrates the inseparable connection of several moral problems. A minor deficiency allows you to see the moral character of the representatives of society, reveals different facets of the same quality of a person.

"Deadline"

Valentin Grigoryevich Rasputin is one of the called masters of "village prose", one of those who continue the traditions of Russian classical prose, primarily from the point of view of moral and philosophical problems. Rasputin explores the conflict between a wise world order, a wise attitude to the world and an unwise, fussy, thoughtless existence. The search for the roots of this conflict in the 1970 story "Deadline".

On the one hand, the narration is conducted by an impersonal narrator, depicting the events in the house of the dying Anna, on the other hand, it is as if Anna herself tells her views, thoughts, feelings are transmitted in the form of improperly direct speech. Such an organization of the story creates a feeling of dialogue between two opposite life positions. But in fact, the author's sympathies are clearly on the side of Anna, another position is presented in a negative light.

Rasputin's negative position belongs to the author's attitude towards Anna's already adult children, who gathered in the house of a dying old mother to say goodbye to her. Only after all, you can’t plan the moment of death, you can’t calculate ahead of time, like a train stopping at a station. Contrary to all predictions, the old woman Anna is in no hurry to close her eyes. Her strength then weakens, then returns again. Meanwhile, Anna's children are occupied, first of all, with their own concerns. Lyusya hurries to sew a black dress for herself while her mother is still alive, in order to look appropriate at the funeral, Varvara immediately begs for this unsewn dress for her daughter. Sons Ilya and Mikhail thriftily buy a box of vodka - "the mother must be seen off as it should" - and begin to drink in advance. And their emotions are unnatural: Barbara, only having arrived and opening the gate, “as soon as she turned on herself, she began to cry: “You are my mother-ah!” Lucy also shed a tear. All of them - Ilya, and Lucy, and Varvara, and Mikhail - have already come to terms with the inevitability of loss. An unexpected glimmer of hope for recovery causes them not relief, but rather confusion and annoyance. It was as if their mother had deceived them, as if she had forced them to waste their nerves and time, mixed up their plans. So the author shows that the spiritual world of these people is poor, they have lost their noble memory, they are only preoccupied with petty matters, they have cut themselves off from Nature (the mother in Rasputin's story is nature that gives life). Hence the author's squeamish detachment from these heroes.

Rasputin wonders why Anna's children have such thick skin? They weren't born that way, were they? And why did such a mother have soulless children? Anna recalls the past, the childhood of her sons and daughters. He remembers when the first-born was born to Mikhail, how happy he was, burst into his mother with the words: “Look, mother, I am from you, he is from me, and someone else is from him ...”. Initially, the heroes are able to “be sensitively and keenly surprised at their existence, what surrounds them at every step”, they are able to understand their participation in the “endless goal” of human existence: “so that the world never becomes poor without people and does not grow old without children.” But this potential was not realized, the pursuit of momentary benefits overshadowed Mikhail, Varvara, Ilya and Lucy the whole world and the meaning of life. They have no time, and do not want to think, they do not have the ability to be surprised at life. The writer explains the main reason for the moral decline, first of all, by the loss of a person’s spiritual connection with his roots.

In this story, there is one image that completely opposes the images of Anna's insensitive children - this is the youngest daughter of Tanchor. Tanya retained the consciousness of her connection with the whole world, coming from childhood, a grateful feeling for her mother, who gave her life. Anna remembers well how Tanchora, diligently combing her head, said: “You are with us, mother, well done.” - "Is this still something?" mother wondered. “Because you gave birth to me, and now I live, and without you no one would have given birth to me, so I would not have seen the white light.” Tatyana differs from her brothers and sisters in a sense of gratitude to her mother, to the world, hence all the best, morally bright and pure, sensitivity to all living things, joyful briskness of temper, tender and sincere love for her mother, which is not extinguished by time or distance. . Although she, too, is capable of betraying her mother, she did not even consider it necessary to respond to the telegram.

Anna Stepanovna never lived for herself, never shied away from duty, even the most burdensome. With whomever of the relatives trouble befell, she was looking for her fault, as if she had overlooked something, she was too late to intervene in something. There is a conflict of pettiness, callousness and a sense of responsibility for the whole world, a certain selflessness and kindness. The position of the author is obvious, he is on the side of the rich spiritual world. For Rasputin, Anna is an ideal image. The writer said: "I have always been attracted to the images of simple women, distinguished by selflessness, kindness, the ability to understand another." The strength of the characters of Rasputin's favorite heroes is in wisdom, in the people's worldview, and people's morality. Such people set the tone, the intensity of the spiritual life of the people.

In this work, the spike of several moral problems is less noticeable. The main conflict of the work, however, can be associated with the conflict of "fathers" and "children". It should be noted that the problem of the crushing of the soul posed by the author is very large-scale and deserves consideration in a separate work.

"Live and Remember"

This story was born from the contact experienced by the writer in childhood with his today's reflections on the village of the war years. And again, as in "Money for Mary" and in "Deadline", Valentin Rasputin chooses a critical situation that checks the moral foundations of the individual.

Did the protagonist know at the very moment when, succumbing to spiritual weakness, he jumped on a train heading not to the front, but from the front to Irkutsk, what this act would turn out for him and his loved ones? Perhaps he guessed, but only vaguely, indistinctly, fearing to think through to the end everything that should happen after this, after this.

Every day, when Andrei avoided the war, did not move away, but brought closer the tragic denouement. The inevitability of the tragedy lies in the very plot “live and remember”, and all the pages of the story breathe with a premonition of tragedy. Rasputin does not lead his hero to a choice, but begins with a choice. From the first lines, Guskov is at a fork in the road, one of which leads to war, towards danger, while the other leads away from war. And giving preference to this second road, he sealed his fate. He ordered it himself.

Thus, one of the most important moral problems arises in the author's work - the problem of choice. The work shows that one should not succumb to the temptation (albeit such a “high” as meeting with the family), to give up slack. On the way home, the hero is lucky, in the end he achieves his goal without falling under the tribunal. But, having avoided the tribunal, Guskov still did not leave the court. And from punishment, perhaps more severe than execution. From moral punishment. The more fantastic luck, the more distinct in "Live and Remember" the rumble of impending disaster.

Conclusion

Valentin Rasputin has already come a long way. He wrote such works that raise a huge number of moral issues. These issues are very relevant even today. What is especially noteworthy is that the author does not look at the problem as a separate, separate phenomenon. The author explores the relationship of problems, studying the souls of people. Therefore, you can not expect simple solutions from him.

After Rasputin's books, the idea of ​​life becomes somewhat clearer, but not simpler. At least some of the many schemes with which the consciousness of any of us is so well equipped, in contact with this artistically transformed reality, reveal their approximateness or inconsistency. The complex in Rasputin remains complex and ends in a complicated way, but there is nothing deliberate, artificial in this. Life is really replete with these complexities and an abundance of interrelations between phenomena.

Valentin Rasputin convinces us with everything that he wrote that there is light in a person and it is difficult to extinguish it, no matter what the circumstances, although it is possible. He does not share a gloomy view of man, of the original, fearless "viciousness" of his nature. In the heroes of Rasputin and in himself there is a poetic sense of life, opposed to the base, naturalistic, its perception and image. He remains faithful to the traditions of humanism to the end.

Used literature and other sources:

1. V. G. Rasputin “Live and remember. Tale" Moscow 1977.

2. F.F. Kuznetsov “Russian literature of the XX century. Essays, essays, portraits "Moscow 1991.

3. V. G. Rasputin “Down and upstream. Tale" Moscow 1972.

4. N.V. Egorova, I.V. Zolotareva “hourly developments in Russian literature of the XX century”, Moscow, 2002.

5. Critical materials of Internet libraries.

6. www.yandex.ru

7. www.ilib.ru

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Rasputin's work "Fire" was published in 1985. In this story, the writer, as it were, continues the analysis of the life of people who moved to another village after the flooding of the island from the story "Farewell to Matera". They were relocated to the urban-type settlement Sosnovka. The main character - Ivan Petrovich Egorov - feels exhausted mentally and physically: "as in a grave."

The event basis of the story is simple: warehouses caught fire in the village of Sosnovka. Who saves people's goods from the fire, and who pulls what they can for themselves. The way people behave in an extreme situation serves as an impetus for the painful thoughts of the protagonist of the story, driver Ivan Petrovich Yegorov, in which Rasputin embodied the folk character of a truth-seeker suffering at the sight of the destruction of the age-old moral foundation of being.

The situation with the fire in the story allows the author to explore the present and the past. Warehouses are burning, goods that people have not seen on the shelves: sausages, Japanese rags, red fish, a Ural motorcycle, sugar, flour. Part of the people, taking advantage of the confusion, pulls away what they can. In the story, the fire is a symbol of catastrophe for the social atmosphere in Sosnovka.

Ivan Petrovich is looking for answers to questions that the surrounding reality throws at him. Why "everything turned upside down? .. It was not allowed, not accepted, it became allowed and accepted, it was impossible - it became possible, it was considered a shame, a mortal sin - revered for dexterity and valor." Ivan Petrovich made the rule of his life "to live according to his conscience", it hurts him that during a fire, one-armed Savely drags sacks of flour into his bathhouse, and "friendly guys - Arkharovites" first of all grab crates of vodka.

But the hero not only suffers, he tries to find the cause of this moral impoverishment. At the same time, the main thing is the destruction of the age-old traditions of the Russian people: they have forgotten how to plow and sow, they are used to only taking, cutting down, destroying.

In all the works of V. Rasputin, the image of the house plays a special role: the house of the old woman Anna, where her children gather, the Guskovs' hut, which does not accept a deserter, Daria's house, which goes under water. The inhabitants of Sosnovka do not have this, and the village itself is like a temporary shelter: "Uncomfortable and untidy ... bivouac type ... as if wandering from place to place, stopped to wait out the bad weather, and just got stuck ...". The absence of a Home deprives people of their vital basis, kindness, and warmth. The reader feels acute anxiety from the picture of the ruthless conquest of nature. A large amount of work requires a large number of workers, often of any kind. The writer describes a layer of "superfluous", indifferent to everything people, from which there is discord in life.

They were joined by "arkharovtsy" (orgnabor brigade), who brazenly put pressure on everyone. And the locals were confused before this evil force. The author, through the reflections of Ivan Petrovich, explains the situation: "people dispersed all by themselves even earlier." Social strata in Sosnovka mixed up. There is a disintegration of the "common and harmonious existence." For twenty years of life in the new village, morality has changed. In Sosnovka, houses don't even have front gardens, because anyway, this is temporary housing. Ivan Petrovich remained true to the old principles, the norms of good and evil. He honestly works, worries about the decline of morals. And it turns out in the position of a foreign body. Ivan Petrovich's attempts to prevent the Ninth's gang from exercising power end in the revenge of the gang. Either they will puncture the tires of his car, then they will pour sand into the carburetor, then they will chop up the brake hoses to the trailer, then they will knock out the rack from under the beam, which will almost kill Ivan Petrovich.

Ivan Petrovich has to get ready with his wife Alena to leave for the Far East to one of his sons, but he will not be able to leave this land.

There are many positive characters in the story: Ivan Petrovich's wife Alena, old uncle Misha Khampo, Afonya Bronnikov, head of the timber industry sector Boris Timofeevich Vodnikov. Symbolic descriptions of nature. At the beginning of the story (March), she is lethargic, numb. At the end - a moment of calm, before blossoming. Ivan Petrovich, walking on the spring land, "as if he had finally taken out on the right path."

"Farewell to Matera"

In the story, the reader is presented, traditionally for Rasputin, with “ancient old women”: Daria Pinegina, Katerina Zotova, Natalya, Sima, as well as the male hero Bogodul. Each of them has had a hard working life in the past. Now they live, as it were, for the continuation of the family (human) race, considering this their main goal. Rasputin makes them bearers of folk moral values ​​and opposes them to "obsevki" - those who do not care for Matera, who leave their native walls without regret. This is Andrei, the grandson of Daria: the land of his ancestors and its fate does not bother him, his goal is a large construction site, and he argues with his father and grandmother, denying their values.

In general, the composition of the story is rather vague, it is presented as a chain of events connected, so to speak, only by an internal meaning, by chronology. Everything that happens directly concerns Matera, the fact of its inevitable (as the author emphasizes) disappearance, hence all the experiences of its inhabitants. All the characters, with a considerable degree of confidence, obey the system of opposing true villagers, with their range of values, and the so-called "cuttings". On this basis, one can also consider the means used by the author to make the reader understand how he relates to certain characters. Rasputin gives his favorite heroines primordially Russian, reminiscent of something rural, names: Daria Pinegina, Natalya Karpova, Katerina. He endows such a colorful character as Bogodul with features similar to the hero of Russian fairy tales, the goblin.

In contrast to them, Rasputin rewards with pejorative names unpleasant heroes for him - Klavka Strigunova, Petrukha (in the past - Nikita Zotov, later renamed for greater resemblance to the farce Petrushka). Adds negative features to such characters and their speech is literary poor, with illiterately constructed phrases, and if it is correct, it is saturated with clichés (“Will we understand or what will we?”). It is noteworthy that in the story the positive characters are old women and children (little Kolya). Both those and others are helpless, in fact, they are forced out by the “young tribe”.

Rasputin writes that the old, outgoing world is the only abode of holiness and harmony. Indeed, the residents (or rather, mostly residents) of Matera do not care about any external problems, they live in their own closed world. That is why the penetration of the external, cruel and aggressive world is so terrible for them. From its impact, Matera simply dies.

This work is based on an ingenuous situation - at the bedside of a dying mother, brothers and sisters meet, who left her long ago in search of a better life. Having tuned in to the mournfully solemn mood appropriate to the moment, they appear before the face of an old mother who is living her last days in the house of one of her sons, Mikhail. Only after all, you can’t plan the hour of death, and the old woman Anna, contrary to all forecasts, is in no hurry to die. By a miracle it happened or not by a miracle, no one will say, only when she saw her guys, the old woman began to come to life. Being on the verge, she then weakens, then again returns to life. Adult children, who have prudently prepared both mourning clothes and a box of vodka for the wake, are discouraged. However, they are in no hurry to take advantage of the hours of postponement of death that have fallen to their lot and communicate with their mother. The tension that fettered everyone in the first minutes of being next to the sick Anna gradually subsides. The solemnity of the moment is violated, conversations become free - about earnings, about mushrooms, about vodka. Ordinary life is reborn, revealing both the complexity in relationships and the difference in views. The story intertwines tragic and comic moments, sublime, solemn and ordinary everyday. The author deliberately refrains from commenting on what is happening, conveying only the course of events. Yes, and it is unlikely that this situation may require explanation. And what about Anna, who is living her last days? Days of summing up, filled with reflections on the experience. Before the eyes of a dying woman passes the whole life with its joys and sufferings. But how many joys did she have? Is it something that I remember from a young age: a warm steamy river after the rain, darkened sand. And it is so good, happy for her to live at this moment, to look with her own eyes at his beauty, ... that she is dizzy and sweetly, excitedly whines in her chest. Sins are also remembered, as in confession. And the most serious sin is that in times of famine she slowly milked her former cow, which, out of habit, wanders into the old yard. She gave away what was left after the collective farm milking. Is it for yourself? Saved the kids. So she lived: she worked, endured unfair insults from her husband, gave birth, mourned the sons who died at the front, escorted the surviving and grown children to distant lands. In a word, she lived the way millions of women of that time lived - she did what was necessary. She is not afraid of death, because she has fulfilled her destiny, she has not lived in vain in the world.

You involuntarily wonder at the skill of the writer, who managed to so subtly reflect the experiences of an old woman.

The Tale" is a work of ambiguous subject matter. The death of a mother becomes a moral test for her adult children. A test they didn't pass. Callous and indifferent, they not only do not feel joy at the unexpected hope of their mother's recovery, but they are also annoyed, as if she deceived them, violated plans, used time. As a result of this annoyance, quarrels arise. The sisters accuse Mikhail of not treating his mother well enough, ripping off nervous tension on him, demonstrating demolition of superiority over an uneducated brother. And Mikhail arranges a merciless examination for his sisters and brother: “But what,” he shouts, “can one of you take her away? Which one of you loves your mother the most? And no one accepted this challenge. And this has its roots - callousness, indifference, selfishness. For the sake of their own interests, people for whom the mother sacrificed her life abandoned what makes a person a person - goodness, humanity, compassion, love. Using the example of one family, the writer revealed the features inherent in the whole society, reminded us that, betraying our loved ones, refusing the ideals of goodness bequeathed to us by our ancestors, we, first of all, betray ourselves, our children, brought up on the example of moral degeneration.

Rasputin, Composition