The story “Matryonin Dvor” was written by Solzhenitsyn in 1959. The first title of the story is “There is no village without a righteous man” (Russian proverb). The final version of the title was invented by Tvardovsky, who at that time was the editor of the Novy Mir magazine, where the story was published in No. 1 for 1963. At the insistence of the editors, the beginning of the story was changed and the events were attributed not to 1956, but to 1953, that is, to the pre-Khrushchev era. This is a nod to Khrushchev, thanks to whose permission Solzhenitsyn's first story, One Day in the Life of Ivan Denisovich (1962), was published.
The image of the narrator in the work "Matryonin Dvor" is autobiographical. After Stalin's death, Solzhenitsyn was rehabilitated, indeed he lived in the village of Miltsevo (Talnovo in the story) and rented a corner from Matryona Vasilievna Zakharova (Grigorieva in the story). Solzhenitsyn very accurately conveyed not only the details of the life of Marena's prototype, but also the features of life and even the local dialect of the village.
Literary direction and genre
Solzhenitsyn developed the Tolstoyan tradition of Russian prose in a realistic direction. The story combines the features of an artistic essay, the story itself and elements of life. The life of the Russian village is reflected so objectively and diversely that the work approaches the genre of "novel type story". In this genre, the character of the hero is shown not only at a turning point in his development, but also the history of the character, the stages of his formation are covered. The fate of the hero reflects the fate of the entire era and the country (as Solzhenitsyn says, the land).
Issues
Moral issues are at the center of the story. Are many human lives worth the occupied area or the decision dictated by human greed not to make a second trip by a tractor? Material values among the people are valued higher than the person himself. Thaddeus lost his son and the once beloved woman, his son-in-law is threatened with prison, and his daughter is inconsolable. But the hero thinks about how to save the logs that the workers at the crossing did not have time to burn.
Mystical motifs are at the center of the problematic of the story. This is the motif of an unrecognized righteous man and the problem of cursing things that are touched by people with unclean hands pursuing selfish goals. So Thaddeus undertook to bring down Matryonin's room, thereby making her cursed.
Plot and composition
The story "Matryonin Dvor" has a time frame. In one paragraph, the author talks about how trains slow down at one of the crossings and 25 years after a certain event. That is, the frame refers to the beginning of the 80s, the rest of the story is an explanation of what happened at the crossing in 1956, the year of the Khrushchev thaw, when “something started to move”.
The hero-narrator finds the place of his teaching in an almost mystical way, having heard a special Russian dialect in the bazaar and settling in the "kondovoy Russia", in the village of Talnovo.
In the center of the plot is the life of Matryona. The narrator learns about her fate from herself (she tells how Thaddeus, who disappeared in the first war, wooed her, and how she married his brother, who disappeared in the second). But the hero finds out more about the silent Matryona from his own observations and from others.
The story describes in detail Matryona's hut, which stands in a picturesque place near the lake. The hut plays an important role in the life and death of Matryona. To understand the meaning of the story, you need to imagine a traditional Russian hut. Matrona's hut was divided into two halves: the actual residential hut with a Russian stove and the upper room (it was built for the eldest son to separate him when he marries). It is this chamber that Thaddeus disassembles in order to build a hut for Matryona's niece and his own daughter Kira. The hut in the story is animated. The wallpaper left behind the wall is called its inner skin.
Ficuses in tubs are also endowed with living features, reminding the narrator of a silent, but lively crowd.
The development of the action in the story is a static state of harmonious coexistence of the narrator and Matryona, who "do not find the meaning of everyday existence in food." The culmination of the story is the moment of the destruction of the chamber, and the work ends with the main idea and a bitter omen.
Heroes of the story
The hero-narrator, whom Matryona calls Ignatich, from the first lines makes it clear that he came from places of detention. He is looking for a job as a teacher in the wilderness, in the Russian outback. Only the third village satisfies him. Both the first and the second turn out to be corrupted by civilization. Solzhenitsyn makes it clear to the reader that he condemns the attitude of Soviet bureaucrats towards man. The narrator despises the authorities, who do not assign a pension to Matryona, forcing her to work on the collective farm for sticks, not only not giving peat for the furnace, but also forbidding anyone to ask about it. He instantly decides not to extradite Matryona, who brewed moonshine, hides her crime, for which she faces prison.
Having experienced and seen a lot, the narrator, embodying the author's point of view, acquires the right to judge everything that he observes in the village of Talnovo - a miniature embodiment of Russia.
Matryona is the main character of the story. The author says about her: “Those people have good faces who are at odds with their conscience.” At the moment of acquaintance, Matryona's face is yellow, and her eyes are clouded with illness.
To survive, Matryona grows small potatoes, secretly brings forbidden peat from the forest (up to 6 sacks a day) and secretly cuts hay for her goat.
There was no woman's curiosity in Matryona, she was delicate, did not annoy with questions. Today's Matryona is a lost old woman. The author knows about her that she got married before the revolution, that she had 6 children, but they all died quickly, "so two did not live at once." Matryona's husband did not return from the war, but went missing. The hero suspected that he had a new family somewhere abroad.
Matryona had a quality that distinguished her from the rest of the villagers: she selflessly helped everyone, even the collective farm, from which she was expelled due to illness. There is a lot of mysticism in her image. In her youth, she could lift sacks of any weight, stopped a galloping horse, foresaw her death, being afraid of locomotives. Another omen of her death is a pot of holy water that went missing on Epiphany.
Matryona's death seems to be an accident. But why on the night of her death, the mice rush about like crazy? The narrator suggests that it was 30 years later that the threat of Matryona's brother-in-law Thaddeus, who threatened to chop down Matryona and his own brother, who married her, struck.
After death, the holiness of Matryona is revealed. The mourners notice that she, completely crushed by the tractor, has only the right hand left to pray to God. And the narrator draws attention to her face, more alive than dead.
Fellow villagers speak of Matryona with disdain, not understanding her disinterestedness. The sister-in-law considers her unscrupulous, not careful, not inclined to accumulate good, Matryona did not seek her own benefit and helped others for free. Despised by fellow villagers was even Matryonina's cordiality and simplicity.
Only after her death did the narrator realize that Matryona, "not chasing after the factory", indifferent to food and clothing, is the foundation, the core of all of Russia. On such a righteous person stands a village, a city and a country ("all our land"). For the sake of one righteous man, as in the Bible, God can spare the earth, protect it from fire.
Artistic originality
Matryona appears before the hero as a fairy-tale creature, like Baba Yaga, who reluctantly gets off the stove to feed the prince who is passing by. She, like a fairy grandmother, has helper animals. Shortly before the death of Matryona, the rickety cat leaves the house, the mice, anticipating the death of the old woman, rustle especially. But cockroaches are indifferent to the fate of the hostess. Following Matryona, her favorite ficuses, similar to the crowd, die: they are of no practical value and are taken out into the cold after Matryona's death.
Solzhenitsyn "Matryonin Dvor"
Option 1
1. The story "Matryonin Dvor":
B) is based on fiction;
C) based on eyewitness accounts, contains elements of fiction.
2. The story is told in:
A) in first person
B) from a third party;
C) two narrators.
3. Function of exposition in a story:
A) introduce the reader to the main characters;
B) intrigue the reader with a mystery that explains the slow movement of the train along a segment of the railway track;
C) to acquaint with the place of action and indicate the involvement of the narrator in what happened
events.
4. The narrator settled in Talnovo, hoping to find patriarchal Russia:
A) and was upset when he saw that the inhabitants were unfriendly towards each other;
B) and did not regret anything, because he learned the folk wisdom and sincerity of the inhabitants of Talnovo;
C) and stayed there forever.
5. The narrator, paying attention to the description of everyday life, talking about a middle-aged cat, a goat, mice and cockroaches living freely in Matryona's house:
A) did not approve of the inaccuracy of the hostess, although he did not tell her about it so as not to offend;
B) emphasized that the good heart of Matryona felt sorry for all living things, and she sheltered in the house of those
who needed her compassion;
C) showed the details of village life.
Solzhenitsyn "Matryonin Dvor"
Option 2
1. Unlike the detailed description of Thaddeus, the portrait of Matryona is stingy with details:
“The round face of Matryona, tied with an old faded handkerchief, looked at me in the indirect soft reflections of the lamp ...” This allows:
B) indicate its belonging to the villagers;
C) to see a deep subtext in the description of Matryona: her essence reveals not a portrait, but how she lives and communicates with people.
2. Reception of the arrangement of images with a gradual increase in significance, which the author uses in the finale of the story ( ) is called:
3. What the author is talking about: “But it must have come to our ancestors from the Stone Age itself, because, heated once before dawn, it keeps warm food and drink for livestock, food and water for humans all day long. And sleep warmly.
5. How does the fate of the narrator of the story "Matryona Dvor" resemble the fate of the author A. Solzhenitsyn?
5. When was the story "Matryonin Dvor" written?
Solzhenitsyn "Matryonin Dvor"
Option 3
1. Matryona told the narrator Ignatich the story of her bitter life:
A) because she had no one to talk to;
B) because he also had to go through difficult times, and he learned to understand and sympathize;
C) because she wanted to be pitied.
2. A short acquaintance with Matryona allowed the author to understand her character. He was:
A) kind, gentle, sympathetic;
B) closed, taciturn;
C) cunning, mercantile.
3. Why was it hard for Matryona to give the upper room during her lifetime?
4. What did the narrator want to work in the village?
5. Indicate on whose behalf the narration is being conducted in Solzhenitsyn's story "Matryonin Dvor"
B) objective storytelling
D) bystander
Solzhenitsyn "Matryonin Dvor"
Option 4
A) went for holy water at Baptism;
B) she cried when she heard Glinka's romances on the radio, taking this music with her heart;
C) agreed to give the upper room for scrapping.
2. Main theme of the story:
A) revenge of Thaddeus Matryona;
B) the alienation of Matryona, who lived closed and lonely;
C) the destruction of Matryona's court as a haven of kindness, love and forgiveness.
3. Waking up one night in the smoke that rushed to save Matryona?
4. The sister-in-law, after the death of Matryona, said about her: "... stupid, she helped strangers for free." Were people strangers to Matryona? What is the name of this feeling, on which Rus' is still based, according to Solzhenitsyn?
5. Indicate the second name of Solzhenitsyn's story "Matryonin Dvor"
A) "The case at the station Krechetovka"
B) "Fire"
C) “A village does not stand without the righteous”
D) "business as usual"
Solzhenitsyn "Matryonin Dvor"
Option 5
A) highlight the hero's solidity, dignity, fortress.
B) to show the resilience of the once “tar hero”, who did not waste his spiritual kindness and generosity;
C) more clearly reveal the anger, hatred, greed of the hero.
2. The narrator is:
A) an artistically generalized character showing a complete picture of events;
B) the character of the story, with his life story, self-characterization and speech;
C) a neutral narrator.
3. What did Matryona feed her tenant?
4. Continue.“But Matryona was by no means fearless. She was afraid of fire, she was afraid of lightning, and most of all for some reason .... "
a) "The village of Torfoprodukt"
b) “A village does not stand without a righteous man”
c) "Backless Matryona"
Solzhenitsyn "Matryonin Dvor"
Option 6
1. Depicting the lamentation of relatives for the deceased Matryona,
A) shows the proximity of the heroes to the Russian national epic;
B) shows the tragedy of events;
C) reveals the essence of the sisters of the heroine, who, in tears, argue for the inheritance of Matryona.
2. A tragic omen of events can be considered:
A) the loss of a rickety cat;
B) the loss of the house and everything connected with it;
C) discord in relations with sisters.
3. Matryona's clock was 27 years old and they were in a hurry all the time, why didn't this bother the hostess?
4. Who is Kira?
5. What is the final tragedy? What does the author want to tell us? What worries him?
Solzhenitsyn "Matryonin Dvor"
Option 7
1. Solzhenitsyn calls Matryona a righteous woman, without whom the village does not stand, according to the proverb. He came to this conclusion:
A) since Matryona always spoke the right words, her opinion was listened to;
B) because Matryona observed Christian customs;
C) when the image of Matryona became clear to him, close, like her life without the pursuit of good, for outfits.
2. What words begin the story "Matryonin Dvor"?
3. What connects the story "Matryonin Dvor" and?
4. What was the original name of the story "Matryonin Dvor"?
5. What hung "on the wall for beauty" in Matryona's house?
Solzhenitsyn "Matryonin Dvor"
Option 8
1. Matryona cooked food in three cast-iron pots. In one - for himself, in the other - for Ignatich, and in the third - ...?
3. What sure remedy did Matryona have to regain her good mood?
4. What event or omen happened to Matryona at Baptism?
5. What is the full name of Matryona .
Solzhenitsyn "Matryonin Dvor"
Option 9
1. What part of the house did Matryona bequeath to her pupil Kira?
2. What historical period is the story about?
a) after the revolution
b) after World War II
3. What music heard on the radio did Matryona like?
4. What kind of weather did Matryona call duel?
5. " From the red frosty sun, the frozen window of the canopy, now shortened, filled with a little pink, - and Matryona's face warmed this reflection. Those people always have good faces, who….” Continue.
Solzhenitsyn "Matryonin Dvor"
Option 10
1. What was Thaddeus thinking about as he stood at the tombs of his son and the woman he had once loved?
2. What is the main idea of the story?
a) depiction of the severity of the life of the peasantry of collective farm villages
b) the tragic fate of a village woman
c) loss of spiritual and moral foundations by society
d) displaying the type of eccentric in Russian society
3.
Continue: “Not understood and abandoned even by her husband, who buried six children, but did not like her sociable character, a stranger to her sisters, sister-in-law, funny, stupidly working for others for free - she did not accumulate property to death. Dirty white goat, rickety cat, ficuses…
We all lived next to her and did not understand that she was the one .... "
4.
5. What artistic details help the author create the image of the main character?
a) lopsided cat
b) potato soup
c) a large Russian stove
d) a silent but lively crowd of ficuses
Solzhenitsyn "Matryonin Dvor"
Option 11
1. What is the meaning of the namestory?
a) the story is named after the scene
b) Matrenin yard - a symbol of a special structure of life, a special world
c) a symbol of the destruction of the world of spirituality, goodness and mercy in the Russian village
2. What is the main idea of this story? What Solzhenitsyn puts into the image of the old woman Matryona?
3. What is the feature of the image systemstory?
a) built on the principle of pairing of characters
b) the heroes surrounding Matryona are selfish, callous, they used the kindness of the main character
c) emphasizes the loneliness of the main character
d) designed to highlight the character of the main character
4. Write what was the fate of Matryona.
5. How did Matryona live? Was she happy in life?
Solzhenitsyn "Matryonin Dvor"
Option 12
1. Why didn't Matryona have children?
2. What was Thaddeus worried about after the death of his son and former beloved woman?
3. What did Matryona bequeath?
4. How can you characterize the image of the main character?
a) a naive, funny and stupid woman who has worked for others for free all her life
b) an absurd, poor, miserable, abandoned old woman
c) a righteous woman who has not sinned in any way against the laws of morality
a) artistic details
b) in a portrait
c) the nature of the description of the event underlying the story
e) internal monologues of the heroine
Solzhenitsyn "Matryonin Dvor"
Option 13
1. What type of traditional thematic classification does this story belong to?
1) Village 2) military prose 3) intellectual prose 4) urban prose
2. What type of literary heroes can Matryona be attributed to?
1) an extra person, 2) a small person, 3) a premature person, 4) a righteous person
3. The story "Matryonin Dvor" is written in the following traditions:
4. The episode of the destruction of the house is:
1) opening 2) exposition 3) climax 4) denouement
5. Traditions of what ancient genre can be found in the story "Matryonin's yard"?
1) parables 2) epics 3) epic 4) lives
Solzhenitsyn "Matryonin Dvor"
Option 14
1. What is the original title of the story?
1) “Life is not a lie” 2) “A village does not stand without a righteous man” 3) “Be kind!” 4) "Death of Matryona"
2. The specific subject of the narrative, indicated by the pronoun "I" and the first person of the verb, the protagonist of the work, the intermediary between the image of the author and the reader is called:
3. Words found in the story "Mismatch", "to the ugly", "room" are called:
1) professional 2) dialect 3) words with a figurative meaning
4. Name the technique that the author uses when depicting the characters of Matryona and Thaddeus:
1) antithesis 2) mirror composition 3) comparison
5. Reception of the arrangement of images with a gradual increase in significance, which the author uses in the finale of the story ( village - city - all our land) is called:
1) hyperbole 2) gradation 3) antithesis 4) comparison
Answers:
Option 1
1 - a
3 - in
4 - a
5 B
Option 2
2- gradation
3 - About the Russian stove.
Option 3
3. “It was not a pity for the chamber itself, which stood idle, as in general, Matryona never spared her labor or goodness. And this room was still bequeathed to Kira. But it was terrible for her to start breaking the roof under which she had lived for forty years.
4. teacher
Option 4
3. She began to throw ficuses on the floor so that they would not suffocate from the smoke.
4. The righteous
Option 5
1. V
2. 2.
3. “Cardboard not peeled”, “cardboard soup” or barley porridge.
4. Trains.
5. b
Option 6
3. If only they didn’t fall behind, so as not to be late in the morning. ”
4. pupil
5. Matryona perishes - Matryonin's yard perishes - Matryonin's world - a special world of the righteous. The world of spirituality, goodness, mercy, about which they also wrote. No one even thinks that with the departure of Matryona, something valuable and important passes away. Righteous Matryona is the moral ideal of the writer, on which the life of society should be based. All the actions and thoughts of Matryona were consecrated with a special holiness, not always clear to others. The fate of Matryona is firmly connected with the fate of the Russian village. There are fewer and fewer Matryonas in Rus', and without them " do not stand the village". The final words of the story return to the original title - " A village does not stand without a righteous man”and fill the story about the peasant woman Matryona with a deep generalizing, philosophical meaning. Village- a symbol of moral life, the national roots of man, the village - the whole of Russia.
Option 7
1. IN
2. “At one hundred and eighty-four kilometers from Moscow along the branch that goes to Murom and Kazan, for a good six months after that, all the trains slowed down, as it were, to the touch.”
3. It was he who gave it that name.
4. A village does not stand without a righteous person.”
5. Ruble posters about the book trade and about the harvest.
Option 8
1. goat.
2. About electricity.
3. Job.
4. The pot of holy water is missing.
5. Grigorieva Matryona Vasilievna
Option 9
1. Upper room.
2. d) 1956
2. Glinka's romances.
3. Blizzard.
4. "At odds with your conscience."
Option 10
1. “His high forehead was darkened by a heavy thought, but this thought was to save the logs of the upper room from the fire and from the machinations of the Matryonov sisters.”
2. V)
3. "... the righteous, without whom, according to the proverb, the village does not stand."
4. What are the strengths and weaknesses of Matryona? What did Ignatic understand for himself?
5. e) "radiant", "kind", "apologising" smile
Option 11
1. V
2. the moral ideal of the writer, on which the life of society should be based. All the actions and thoughts of Matryona were consecrated with a special holiness, not always clear to others. The fate of Matryona is firmly connected with the fate of the Russian village. There are fewer and fewer Matryonas in Rus', and without them " do not stand the village»
Option 12
1. Died
2. save the logs of the upper room from the fire and from the machinations of the Matryonov sisters.
3. The true meaning of life, humble
4. IN
| Matryonin yard at Wikiquote |
"Matryonin's Yard"- the second of Alexander Solzhenitsyn's stories published in the Novy Mir magazine. The author's title "A village is not worth without a righteous man" was changed at the request of the editors in order to avoid censorship obstacles. For the same reason, the time of action in the story was changed by the author to 1956.
The "fundamental thing" of all Russian "village literature" called this work Andrey Sinyavsky.
History of creation and publication
The story began in late July - early August 1959 in the village of Chernomorsky in the west of Crimea, where Solzhenitsyn was invited by his friends in Kazakhstan exile, spouses Nikolai Ivanovich and Elena Aleksandrovna Zubov, who settled there in 1958. The story ended in December of that year.
Solzhenitsyn gave the story to Tvardovsky on December 26, 1961. The first discussion in the magazine took place on January 2, 1962. Tvardovsky believed that this work could not be printed. The manuscript remained in the editorial office. Upon learning that the censorship had cut out the memoirs of Veniamin Kaverin about Mikhail Zoshchenko from Novy Mir (1962, No. 12), Lydia Chukovskaya wrote in her diary on December 5, 1962:
... And what if Solzhenitsyn's second thing is not printed? I liked her more than the first. She stuns with courage, shakes with the material - well, of course, with literary skill; and "Matryona" ... here you can already see a great artist, humane, returning our native language to us, loving Russia, as Blok said, with mortally offended love.<…>So the prophetic oath of Akhmatova comes true:
And we will save you, Russian speech,
Great Russian word.Preserved - revived - s / c Solzhenitsyn.
After the success of the story "One Day in the Life of Ivan Denisovich", Tvardovsky decided to re-editorial discussion and prepare the story for publication. In those days, Tvardovsky wrote in his diary:
By today's arrival of Solzhenitsyn, I had re-read his "Righteous" from five in the morning. My God, the writer. No jokes. A writer who is solely concerned with expressing what lies "at the base" of his mind and heart. Not a shadow of the desire to "hit the bull's-eye", please, facilitate the task of the editor or critic - do whatever you want, and get out, but I won't get off my own. Unless I can go further.
The name "Matryonin Dvor" was proposed by Alexander Tvardovsky before publication and approved during an editorial discussion on November 26, 1962:
“The name should not be so instructive,” Alexander Trifonovich argued. “Yes, I’m not lucky with your names,” Solzhenitsyn responded, however quite good-naturedly.
The story was published in the January notebook of Novy Mir for 1963 (pages 42-63) along with the story "The Incident at the Kochetovka Station" under the heading "Two stories".
Unlike Solzhenitsyn's first published work, One Day in the Life of Ivan Denisovich, which was generally positively received by critics, Matryonin Dvor caused a wave of controversy and discussion in the Soviet press. The position of the author in the story was at the center of a critical discussion on the pages of Literary Russia in the winter of 1964. It began with an article by a young writer L. Zhukhovitsky “I am looking for a co-author!”.
In 1989, Matryonin Dvor became the first publication of Alexander Solzhenitsyn's texts in the USSR after many years of silence. The story was published in two issues of the Ogonyok magazine (1989, No. 23, 24) with a huge circulation of more than 3 million copies. Solzhenitsyn declared the publication "pirated", as it was carried out without his consent.
Plot
This reconciles the narrator with his share: “A wind of calm drew me from these names. They promised me horse-drawn Russia.” In one of the villages called Talnovo, he settles. The mistress of the hut in which the narrator lodges is called Matryona Vasilievna Grigoryeva, or simply Matryona.
Matryona, not considering her fate interesting for a "cultured" person, sometimes in the evenings tells about herself to the guest. The life story of this woman fascinates and at the same time stuns him. He sees in it a special meaning, which is not noticed by fellow villagers and relatives of Matryona. The husband went missing at the beginning of the war. He loved Matryona and did not beat her like village husbands beat their wives. But Matryona herself hardly loved him. She was supposed to marry her husband's older brother, Thaddeus. However, he went to the front in the First World War and disappeared. Matryona was waiting for him, but in the end, at the insistence of the Thaddeus family, she married her younger brother, Yefim. And suddenly Thaddeus returned, who was in Hungarian captivity. According to him, he did not kill Matryona and her husband with an ax just because Yefim is his brother. Thaddeus loved Matryona so much that he found a new bride for himself with the same name. The “second Matryona” gave birth to Thaddeus six children, but the “first Matryona” had all the children from Yefim (also six) died before they even lived for three months. The whole village decided that Matryona was “spoiled”, and she herself believed in it. Then she took up the daughter of the “second Matryona” - Kira, raised her for ten years, until she got married and left for the village of Cherusti.
Matryona lived all her life as if not for herself. She constantly worked for someone: for a collective farm, for neighbors, while doing “peasant” work, and never asked for money for it. There is a huge inner strength in Matryona. For example, she is able to stop a rushing horse on the run, which men cannot stop. Gradually, the narrator realizes that Matryona, who gives herself to others without a trace, and “... there is ... the same righteous man, without whom ... the village does not stand. Neither city. Not all our land." But this discovery hardly pleases him. If Russia rests only on selfless old women, what will happen to her next?
Hence the absurdly tragic death of the heroine at the end of the story. Matryona dies helping Thaddeus and his sons to drag part of their own hut, bequeathed to Kira, across the railroad on a sleigh. Thaddeus did not want to wait for the death of Matryona and decided to take the inheritance for the young during her lifetime. Thus, he unwittingly provoked her death. When relatives bury Matryona, they cry more out of duty than from the heart, and think only about the final division of Matryona's property. Thaddeus doesn't even come to the wake.
Characters
- Ignatic - narrator
- Matryona Vasilievna Grigorieva - the main character, the righteous
- Efim Mironovich Grigoriev - husband of Matryona
- Faddey Mironovich Grigoriev - Yefim's older brother (former lover of Matryona and deeply in love with her)
- "Second Matryona" - wife of Thaddeus
- Kira - the daughter of the "second" Matryona and Thaddeus, the adopted daughter of Matryona Grigorieva
- Kira's husband, machinist
- sons of Thaddeus
- Masha is a close friend of Matryona
- 3 sisters Matryona
"Matryonin's Yard"- the second of Alexander Solzhenitsyn's stories published in the Novy Mir magazine. The author's title - "There is no village without a righteous man", was changed at the request of the editors in order to avoid censorship obstacles. For the same reason, the time of action in the story was changed by the author to 1953.
The "fundamental thing" of all Russian "village literature" called this work Andrey Sinyavsky.
History of creation and publication
The story began in late July - early August 1959 in the village of Chernomorsky in the west of Crimea, where Solzhenitsyn was invited by his friends in exile to Kazakhstan, the spouses Nikolai Ivanovich and Elena Alexandrovna Zubov, who settled there in 1958. The story ended in December of that year.
Solzhenitsyn relayed the story to Tvardovsky on December 26, 1961. The first discussion in the magazine took place on January 2, 1962. Tvardovsky believed that this work could not be printed. The manuscript remained in the editorial office. Upon learning that the censorship had cut out the memoirs of Veniamin Kaverin about Mikhail Zoshchenko from Novy Mir (1962, No. 12), Lydia Chukovskaya wrote in her diary on December 5, 1962:
After the success of the story "One Day in the Life of Ivan Denisovich", Tvardovsky decided to re-editorial discussion and prepare the story for publication. In those days, Tvardovsky wrote in his diary:
By today's arrival of Solzhenitsyn, I had re-read his "Righteous" from five in the morning. My God, the writer. No jokes. A writer who is solely concerned with expressing what lies "at the base" of his mind and heart. Not a shadow of the desire to "hit the bull's-eye", please, facilitate the task of the editor or critic - do whatever you want, and get out, but I won't get off my own. Unless I can go further.
The name "Matryonin Dvor" was proposed by Alexander Tvardovsky before publication and approved during an editorial discussion on November 26, 1962:
“The name should not be so instructive,” Alexander Trifonovich argued. “Yes, I have no luck with your names,” Solzhenitsyn responded, however quite good-naturedly.
Unlike Solzhenitsyn's first published work, One Day in the Life of Ivan Denisovich, which was generally positively received by critics, Matryonin Dvor caused a wave of controversy and discussion in the Soviet press. The position of the author in the story was at the center of a critical discussion on the pages of Literaturnaya Rossiya in the winter of 1964. It began with an article by a young writer L. Zhukhovitsky “I am looking for a co-author!”.
The history of the creation of Solzhenitsyn's work "Matryonin Dvor"
In 1962, the Novy Mir magazine published the story "One Day in the Life of Ivan Denisovich", which made Solzhenitsyn's name known throughout the country and far beyond its borders. A year later, in the same journal, Solzhenitsyn published several stories, including “Matryona Dvor”. Postings have stopped at this point. None of the writer's works were allowed to be published in the USSR. And in 1970 Solzhenitsyn was awarded the Nobel Prize.
Initially, the story "Matryona Dvor" was called "A village does not stand without the righteous." But, on the advice of A. Tvardovsky, in order to avoid censorship obstacles, the name was changed. For the same reasons, the year of action in the story from 1956 was replaced by the author with 1953. "Matrenin Dvor", as the author himself noted, "is completely autobiographical and reliable." In all the notes to the story, the prototype of the heroine is reported - Matryona Vasilievna Zakharova from the village of Miltsovo, Kurlovsky district, Vladimir region. The narrator, like the author himself, teaches in the Ryazan village, living with the heroine of the story, and the narrator's patronymic - Ignatich - is consonant with A. Solzhenitsyn's patronymic - Isaevich. The story, written in 1956, tells about the life of a Russian village in the fifties.
Critics praised the story. The essence of Solzhenitsyn's work was noted by A. Tvardovsky: “Why is the fate of the old peasant woman, told on a few pages, of such great interest to us? This woman is unread, illiterate, a simple worker. And yet her spiritual world is endowed with such qualities that we talk with her as with Anna Karenina. After reading these words in Literaturnaya Gazeta, Solzhenitsyn immediately wrote to Tvardovsky: “Needless to say, the paragraph of your speech referring to Matryona means a lot to me. You pointed to the very essence - to a woman who loves and suffers, while all the criticism scoured all the time from above, comparing the Talnovsky collective farm and neighboring ones.
The first title of the story “A village is not worth without the righteous” contained a deep meaning: the Russian village rests on people whose lifestyle is based on the universal values of kindness, labor, sympathy, and help. Since a righteous person is called, firstly, a person who lives in accordance with religious rules; secondly, a person who does not sin in any way against the rules of morality (the rules that determine the mores, behavior, spiritual and spiritual qualities necessary for a person in society). The second name - "Matryona Dvor" - somewhat changed the angle of view: moral principles began to have clear boundaries only within the Matrenin Dvor. On a larger scale of the village, they are blurred, the people around the heroine are often different from her. Having titled the story "Matryona's Dvor", Solzhenitsyn focused the readers' attention on the wonderful world of the Russian woman.
Genus, genre, creative method of the analyzed work
Solzhenitsyn once remarked that he rarely turned to the short story genre, for “artistic pleasure”: “You can put a lot in a small form, and it is a great pleasure for an artist to work on a small form. Because in a small form you can hone the edges with great pleasure for yourself. In the story "Matryona Dvor" all facets are honed with brilliance, and meeting with the story becomes, in turn, a great pleasure for the reader. The story is usually based on a case that reveals the character of the protagonist.
Regarding the story "Matryona Dvor" in literary criticism, there were two points of view. One of them presented Solzhenitsyn's story as a phenomenon of "village prose". V. Astafiev, calling "Matryona Dvor" "the pinnacle of Russian short stories", believed that our "village prose" came out of this story. Somewhat later, this idea was developed in literary criticism.
At the same time, the story "Matryona Dvor" was associated with the original genre of "monumental story" that was formed in the second half of the 1950s. An example of this genre is M. Sholokhov's story "The Fate of a Man".
In the 1960s, the genre features of the “monumental story” were recognizable in A. Solzhenitsyn’s Matrenin Dvor, V. Zakrutkin’s The Human Mother, and E. Kazakevich’s In the Light of Day. The main difference of this genre is the image of a simple person who is the custodian of universal human values. Moreover, the image of a simple person is given in sublime colors, and the story itself is focused on a high genre. So, in the story "The Fate of a Man" features of the epic are visible. And in the "Matryona Dvor" the emphasis is on the lives of the saints. Before us is the life of Matrena Vasilievna Grigorieva, the righteous and great martyr of the era of "solid collectivization" and the tragic experiment on the whole country. Matryona was portrayed by the author as a saint ("Only she had fewer sins than a rickety cat").
The subject of the work
The theme of the story is a description of the life of the patriarchal Russian village, which reflects how flourishing egoism and rapacity disfigure Russia and "destroy communications and meaning." The writer raises in a short story the serious problems of the Russian village of the early 50s. (her life, customs and mores, the relationship between power and a working person). The author repeatedly emphasizes that the state needs only working hands, and not the person himself: “She was lonely all around, but since she began to get sick, she was released from the collective farm.” A person, according to the author, should mind his own business. So Matryona finds the meaning of life in work, she is angry with the unscrupulous attitude of others to business.
An analysis of the work shows that the problems raised in it are subordinated to one goal: to reveal the beauty of the Christian Orthodox worldview of the heroine. On the example of the fate of a village woman, to show that life's losses and suffering only more clearly show the measure of the human in each of the people. But Matryona dies - and this world collapses: her house is pulled apart by a log, her modest belongings are greedily divided. And there is no one to protect Matryona's yard, no one even thinks that with the departure of Matryona, something very valuable and important, not amenable to division and primitive everyday assessment, passes away. “We all lived next to her and did not understand that she is the same righteous man, without whom, according to the proverb, the village does not stand. No city. Not all our land." The last phrases expand the boundaries of the Matrona Court (as the personal world of the heroine) to the scale of humanity.
The main characters of the work
The main character of the story, as indicated in the title, is Matrena Vasilievna Grigorieva. Matrena is a lonely destitute peasant woman with a generous and disinterested soul. She lost her husband in the war, buried six of her own and raised other people's children. Matryona gave her pupil the most precious thing in her life - the house: "... she did not feel sorry for the upper room, which stood idle, as well as neither her labor nor her goodness ...".
The heroine has endured many hardships in life, but has not lost the ability to empathize with others, joy and sorrow. She is disinterested: she sincerely rejoices in someone else's good harvest, although she never has it on the sand herself. All the wealth of Matrena is a dirty white goat, a lame cat and large flowers in tubs.
Matryona is a concentration of the best features of the national character: she is shy, understands the "education" of the narrator, respects him for it. The author appreciates in Matryona her delicacy, the absence of annoying curiosity about the life of another person, hard work. For a quarter of a century she worked on a collective farm, but because she was not at a factory, she was not entitled to a pension for herself, and she could only get it for her husband, that is, for the breadwinner. As a result, she never received a pension. Life was extremely difficult. She got grass for a goat, peat for warmth, collected old stumps turned out by a tractor, soaked lingonberries for the winter, grew potatoes, helping those who were nearby to survive.
Analysis of the work says that the image of Matryona and individual details in the story are symbolic. Solzhenitsyn's Matryona is the embodiment of the ideal of a Russian woman. As noted in critical literature, the appearance of the heroine is like an icon, and life is like the lives of saints. Her house, as it were, symbolizes the ark of the biblical Noah, in which he escapes from the global flood. The death of Matryona symbolizes the cruelty and meaninglessness of the world in which she lived.
The heroine lives according to the laws of Christianity, although her actions are not always clear to others. Therefore, the attitude towards it is different. Matryona is surrounded by sisters, sister-in-law, adopted daughter Kira, the only friend in the village, Thaddeus. However, no one appreciated it. She lived in poverty, wretchedly, lonely - a "lost old woman", exhausted by work and illness. Relatives almost did not appear in her house, everyone condemned Matryona in chorus that she was funny and stupid, she worked for others for free all her life. Everyone mercilessly took advantage of Matryona's kindness and innocence - and unanimously judged her for it. Among the people around her, the author treats her heroine with great sympathy; both her son Thaddeus and her pupil Kira love her.
The image of Matryona is contrasted in the story with the image of the cruel and greedy Thaddeus, who seeks to get Matryona's house during her lifetime.
Matryona's courtyard is one of the key images of the story. The description of the courtyard, the house is detailed, with a lot of details, devoid of bright colors. Matryona lives "in the wilderness." It is important for the author to emphasize the inseparability of the house and the person: if the house is destroyed, its mistress will also die. This unity is already stated in the very title of the story. The hut for Matryona is filled with a special spirit and light, the life of a woman is connected with the "life" of the house. Therefore, for a long time she did not agree to break the hut.
Plot and composition
The story consists of three parts. In the first part, we are talking about how fate threw the hero-narrator to the station with a strange name for Russian places - Peat product. A former prisoner, now a school teacher, longing to find peace in some remote and quiet corner of Russia, finds shelter and warmth in the house of an elderly and familiar life Matrena. “Maybe, to someone from the village, who is richer, Matryona’s hut didn’t seem well-lived, but we were quite good with her that autumn and winter: it didn’t leak from the rains and the cold winds blew the furnace heat out of it not immediately, only in the morning , especially when the wind was blowing from the leaky side. In addition to Matryona and me, they also lived in the hut - a cat, mice and cockroaches. They immediately find a common language. Next to Matryona, the hero calms down with his soul.
In the second part of the story, Matrena recalls her youth, the terrible ordeal that befell her. Her fiancé Thaddeus went missing in World War I. The younger brother of her missing husband, Yefim, who was left alone after death with the younger children in his arms, asked her to woo her. She took pity on Matryona Efim, married an unloved one. And here, after three years of absence, Thaddeus himself unexpectedly returned, whom Matryona continued to love. The hard life did not harden Matrena's heart. In worries about daily bread, she went her way to the end. And even death overtook a woman in labor worries. Matryona dies helping Thaddeus and his sons to drag part of their own hut bequeathed to Kira across the railroad on a sleigh. Thaddeus did not want to wait for the death of Matryona and decided to take the inheritance for the young during her lifetime. Thus, he unwittingly provoked her death.
In the third part, the tenant learns about the death of the mistress of the house. The description of the funeral and commemoration showed the true attitude of people close to her towards Matryona. When relatives bury Matryona, they cry more out of duty than from the heart, and think only about the final division of Matryona's property. And Thaddeus doesn't even come to the wake.
Artistic features of the analyzed story
The artistic world in the story is built linearly - in accordance with the life story of the heroine. In the first part of the work, the whole story about Matryona is given through the perception of the author, a person who has endured a lot in his lifetime, who dreamed of "getting lost and getting lost in the very interior of Russia." The narrator evaluates her life from the outside, compares it with the environment, becomes an authoritative witness of righteousness. In the second part, the heroine talks about herself. The combination of lyrical and epic pages, the chaining of episodes according to the principle of emotional contrast allows the author to change the rhythm of the narrative, its tone. In this way, the author goes to recreate a multi-layered picture of life. Already the first pages of the story serve as a convincing example. It is opened by the beginning, which tells about the tragedy at the railway siding. We learn the details of this tragedy at the end of the story.
Solzhenitsyn in his work does not give a detailed, specific description of the heroine. Only one portrait detail is constantly emphasized by the author - the “radiant”, “kind”, “apologising” smile of Matryona. Nevertheless, by the end of the story, the reader imagines the appearance of the heroine. Already in the very tonality of the phrase, the selection of “colors”, one can feel the author’s attitude towards Matryona: “From the red frosty sun, the frozen window of the canopy, now shortened, filled with a little pink, and Matryona’s face warmed this reflection.” And then - a direct author's description: "Those people always have good faces, who are at odds with their conscience." Even after the terrible death of the heroine, her "face remained intact, calm, more alive than dead."
Matryona embodies the national character, which is primarily manifested in her speech. Expressiveness, bright individuality gives her language an abundance of colloquial, dialectal vocabulary (sweep, kuzhotkamu, summer, lightning). The manner of her speech is also deeply folk, the way she pronounces her words: “They began with some kind of low warm murmur, like grandmothers in fairy tales.” “Matryonin Dvor” minimally includes the landscape, he pays more attention to the interior, which appears not by itself, but in a lively interweaving with the “inhabitants” and with sounds - from the rustling of mice and cockroaches to the state of ficuses and a rickety cat. Every detail here characterizes not only the peasant life, Matryonin's yard, but also the storyteller. The voice of the narrator reveals in him a psychologist, a moralist, even a poet - in the way he observes Matryona, her neighbors and relatives, how he evaluates them and her. The poetic feeling is manifested in the author's emotions: "Only she had fewer sins than a cat ..."; “But Matryona rewarded me ...”. The lyrical pathos is especially obvious at the very end of the story, where even the syntactic structure changes, including paragraphs, translating the speech into blank verse:
“The Veems lived next to her / and did not understand / that she is the same righteous man, / without whom, according to the proverb, / the village does not stand. /Nor the city./Nor all our land.
The writer was looking for a new word. An example of this is his convincing articles on language in Literaturnaya Gazeta, Dahl's fantastic commitment (the researchers note that about 40% of the vocabulary in the story Solzhenitsyn borrowed from Dahl's dictionary), ingenuity in vocabulary. In the story "Matryona's Dvor" Solzhenitsyn came to the language of preaching.
The meaning of the work
“There are such born angels,” Solzhenitsyn wrote in the article “Repentance and Self-Restriction”, as if characterizing Matryona, “they seem to be weightless, they seem to glide over this slurry, without drowning in it at all, even touching its surface with their feet? Each of us met such people, there are not ten or a hundred of them in Russia, they are the righteous, we saw them, we were surprised (“eccentrics”), we used their goodness, in good moments we answered them the same, they dispose, - and immediately sank back to our doomed depths."
What is the essence of Matrona's righteousness? In life, not by lies, we will now say in the words of the writer himself, uttered much later. Creating this character, Solzhenitsyn places him in the most ordinary circumstances of rural collective farm life in the 1950s. The righteousness of Matrena lies in her ability to preserve her humanness even in such inaccessible conditions for this. As N.S. Leskov wrote, righteousness is the ability to live “without lying, without deceit, without condemning one’s neighbor and without condemning a biased enemy.”
The story was called "brilliant", "a truly brilliant work." In reviews of him, it was noted that even among Solzhenitsyn's stories he stands out for his strict artistry, the integrity of the poetic embodiment, and the consistency of artistic taste.
The story of A.I. Solzhenitsyn "Matryona Dvor" - for all time. It is especially relevant today, when the issues of moral values and life priorities are acute in modern Russian society.
Point of view
Anna Akhmatova
When his big thing came out (“One Day in the Life of Ivan Denisovich”), I said: all 200 million should read this. And when I read Matrenin Dvor, I cried, and I rarely cry.
V. Surganov
After all, it’s not so much the appearance of Solzhenitsyn’s Matryona that evokes an internal rebuff in us, but the author’s frank admiration for beggarly disinterestedness and no less frank desire to exalt and oppose it to the rapacity of the owner, nesting in those around her, close to her.
(From the book The Word Makes Its Way.
Collection of articles and documents about A.I. Solzhenitsyn.
1962-1974. - M.: Russian way, 1978.)
This is interesting
On August 20, 1956, Solzhenitsyn left for his place of work. There were many such names as "Peat product" in the Vladimir region. Peat product (the local youth called it "Tyr-pyr") - was a railway station 180 kilometers and a four-hour drive from Moscow along the Kazan road. The school was located in the nearby village of Mezinovsky, and Solzhenitsyn had a chance to live two kilometers from the school - in the Meshchera village of Miltsevo.
Only three years will pass, and Solzhenitsyn will write a story that will immortalize these places: a station with a clumsy name, a village with a tiny bazaar, the house of the landlady Matryona Vasilievna Zakharova, and Matryona herself, a righteous woman and a sufferer. A photograph of the corner of the hut, where the guest will put a cot and, having pushed aside the master's ficuses, will arrange a table with a lamp, will go around the whole world.
The teaching staff of Mezinovka consisted of about fifty members that year and significantly influenced the life of the village. There were four schools here: primary, seven-year, secondary and evening for working youth. Solzhenitsyn received a referral to a secondary school - it was in an old one-story building. The academic year began with the August teachers' conference, so that, having arrived in Torfoprodukt, the teacher of mathematics and electrical engineering of grades 8-10 managed to go to the Kurlovsky district for a traditional meeting. “Isaich,” as his colleagues dubbed him, could, if desired, refer to a serious illness, but no, he did not talk about it with anyone. We only saw how he was looking for a birch chaga mushroom and some herbs in the forest, and briefly answered questions: “I make medicinal drinks.” He was considered shy: after all, a person suffered ... But that was not the point at all: “I came with my goal, with my past. What could they know, what could u tell them? I sat with Matryona and wrote a novel every free minute. Why am I talking to myself? I didn't have that style. I was a conspirator to the end." Then everyone will get used to the fact that this thin, pale, tall man in a suit and tie, who, like all teachers, wore a hat, coat or raincoat, keeps his distance and does not get close to anyone. He will remain silent when a document on rehabilitation comes in six months - just the school head teacher B.S. Protserov will receive a notification from the village council and send a teacher for help. No talking when the wife starts arriving. “What is it to whom? I live with Matryona and I live. Many were alarmed (isn't it a spy?) that he goes everywhere with a Zorkiy camera and shoots something completely different from what amateurs usually shoot: instead of relatives and friends - houses, wrecked farms, boring landscapes.
Arriving at the school at the beginning of the school year, he proposed his own methodology - giving all classes a control, according to the results he divided the students into strong and mediocre, and then worked individually.
In the lessons, everyone received a separate task, so there was neither the possibility nor the desire to write off. Not only the solution of the problem was valued, but also the method of solution. The introductory part of the lesson was shortened as much as possible: the teacher spared time for "trifles". He knew exactly who and when to call to the board, who to ask more often, who to entrust with independent work. The teacher never sat at the teacher's table. He did not enter the class, but burst into it. He ignited everyone with his energy, knew how to build a lesson in such a way that there was no time to be bored or doze off. He respected his students. Never shouted, never even raised his voice.
And only outside the class Solzhenitsyn was silent and withdrawn. He went home after school, ate the “cardboard” soup prepared by Matryona and sat down to work. The neighbors remembered for a long time how inconspicuously the guest lodged, did not arrange parties, did not participate in fun, but read and wrote everything. “She loved Matryona Isaich,” used to say Shura Romanova, the adopted daughter of Matryona (in the story she is Kira). - Sometimes, she will come to me in Cherusti, I persuade her to stay longer. "No," he says. “I have Isaich - he needs to cook, heat the stove.” And back home."
The lodger also became attached to the lost old woman, cherishing her disinterestedness, conscientiousness, cordial simplicity, a smile that he tried in vain to catch in the camera lens. “So Matryona got used to me, and I to her, and we lived easily. She did not interfere with my long evening classes, did not annoy me with any questions. There was absolutely no woman's curiosity in her, and the lodger did not stir her soul either, but it turned out that they opened up to each other.
She learned about the prison, and about the serious illness of the guest, and about his loneliness. And there was no worse loss for him in those days than the ridiculous death of Matryona on February 21, 1957 under the wheels of a freight train at the crossing of one hundred and eighty-four kilometers from Moscow along the branch that goes to Murom from Kazan, exactly six months after the day he settled in her hut.
(From the book of Lyudmila Saraskina "Alexander Solzhenitsyn")
Matrenin yard is poor, as before
Solzhenitsyn's acquaintance with "condo", "interior" Russia, in which he so wanted to be after the Ekibastuz exile, a few years later was embodied in the world-famous story "Matryona Dvor". This year marks 40 years since its inception. As it turned out, in Mezinovsky itself, this work by Solzhenitsyn became a second-hand rarity. This book is not even available at Matrenin Dvor itself, where Lyuba, the niece of the heroine of Solzhenitsyn's story, now lives. “I had pages from a magazine, the neighbors once asked when they began to study it at school, and they didn’t return it,” complains Lyuba, who today brings up her grandson on disability benefits in the “historical” walls. She inherited Matryona's hut from her mother, the youngest sister of Matryona. The hut was moved to Mezinovsky from the neighboring village of Miltsevo (in Solzhenitsyn's story - Talnovo), where the future writer lodged with Matryona Zakharova (with Solzhenitsyn - Matryona Grigorieva). In the village of Miltsevo, for the visit of Alexander Solzhenitsyn in 1994, a similar, but much more solid house was hastily erected. Shortly after the memorable arrival of Solzhenitsyn, the countrymen uprooted window frames and floorboards from this unguarded building of Matrenina, standing on the outskirts of the village.
The "new" Mezin school, built in 1957, now has 240 students. In the unpreserved building of the old one, in which Solzhenitsyn taught lessons, about a thousand studied. For half a century, not only the Miltsevskaya river became shallow and the peat reserves in the surrounding swamps became scarce, but also the neighboring villages were empty. And at the same time, Solzhenitsyn's Thaddeus did not disappear, calling the good of the people "ours" and considering that losing it is "shameful and stupid."
The crumbling house of Matryona, rearranged to a new place without a foundation, has grown into the ground for two crowns, buckets are put under a thin roof in the rain. Like Matryona, cockroaches are in full swing here, but there are no mice: there are four cats in the house, two of our own and two that have nailed it. Lyuba, a former foundry worker at a local factory, like Matryona, who once straightened out her pension for months, goes to the authorities to extend her disability allowance. “No one but Solzhenitsyn helps,” she complains. “Somehow one came in a jeep, called himself Alexei, examined the house and gave money.” Behind the house, like Matryona, there is a garden of 15 acres, on which Lyuba plants potatoes. As before, mint potatoes, mushrooms and cabbage are the main products for her life. In addition to cats, she doesn’t even have a goat in her courtyard, which Matryona had.
So lived and live many Mezinovsky righteous. Local historians write books about the stay of the great writer in Mezinovsky, local poets compose poems, new pioneers write essays “On the difficult fate of Alexander Solzhenitsyn, Nobel laureate”, as they once wrote essays about Brezhnev’s “Virgin lands” and “Small land”. They are thinking of resurrecting the museum hut of Matrena on the outskirts of the deserted village of Miltsevo. And the old Matrenin yard lives the same life as it did half a century ago.
Leonid Novikov, Vladimir region.
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