"Exchange"
Creating in his work the type of hero-intellectual, Yu.V. Trifonov convincingly shows both the ideal embodiment of this concept and the presence of a double hero, in which the pseudo-intellectual principle comes to the fore. Y. Trifonov's story "Exchange" raises socio-psychological problems. It speaks of the mercilessness of life. The plot is based on a family history.
Main character works learned about the serious illness of his mother. While Viktor Dmitriev was rushing to the doctors, his wife Lena found exchangers, although she had not previously agreed to live with her mother-in-law. “Mental inaccuracy”, “mental defect”, “underdevelopment of feelings” - the author so delicately denotes the ability to achieve his own at any cost.
The girl tries to disguise the predatory plans of mastering the living space of her mother-in-law under the filial feelings of her husband, Lena convinces him that the exchange is necessary first of all for his mother herself. Lena has a strong trump card: she does not need a room personally, but for her daughter and Dmitriev, who sleeps and prepares lessons behind a screen in the same room with her parents.
The symbol of everyday disorder in the story is the treacherous crack of an ottoman. Subtly manipulating her husband's feelings, a woman moves step by step towards her goal. Yu.V. Trifonov convincingly shows the reader that philistinism, personified in the image of the Lukyanov family, is by no means a harmless phenomenon. It knows how to insist on its own and defend itself. It is no coincidence that after Victor's conversation with Lena about the portrait, an immediate reaction of the entire Lukyanov clan follows: they get ready and leave the Dmitrievs' dacha, where they had planned to stay for a while before. Then Lena plays out a whole performance, starting to slowly take her husband into her own hands. She forces Dmitriev to call his mother-in-law and ask her to come back.
An interesting retrospective composition of the story. This technique helps Trifonov trace the stages moral degradation Dmitriev, the process of his "olukyaiivaniya". As the story progresses, the conflict deepens. It turns out that once Ksenia Fedorovna, together with her son, studied foreign language. It was the thing that brought them together. When Lena appeared in Dmitriev's life, classes stopped. The son and mother began to move away.
One more symbolic detail in the story is the hands of Lena, with which she hugs her husband: at first she was light and cool, and after fourteen years of married life she began to put pressure on him with a “considerable weight”. Lena's mental uncleanliness is also manifested by a number of external repulsive details of her appearance ( big belly, thick arms, skin in small pimples). Her fullness symbolizes the excess, the possession of which she is so passionate about. The portly Lena is opposed by thin Tanya, former mistress Victor. Unlike Lena, she is not able to play puffed up and, having fallen in love with Dmitriev, she breaks up with her husband. Tanya is romantic, loves poetry, while everyday practicality dominates in Lena. Victor himself is constantly accustomed to doing not
I ck, as I would like. He lives with Lena, thinking that Tanya would be him best wife. Dmitriev understands that it is not good to borrow money from Tanya, but then he agrees ..
Yu.V. Trifonov emphasizes that Dmitriev's worldview is typical of his contemporary era. It is no coincidence that Victor has the opportunity to look at his actions from the outside. For this, the image of Nevyadomsky is introduced into the story. This is a kind of Dmitriev's double - a person into whom in a few years he is likely to turn if he continues to "slander". Zherekhov, Viktor's colleague, tells him a story about Nevyadomsky, who managed to change his living space (move in with his mother-in-law) literally three days before the old woman's death. When telling the story, he not only does not condemn Alexei Kirillovich Nevyadomsky, but even envies him: he received nice apartment and now grows tomatoes on the balcony. Tomatoes on the grave of Nevyadomsky's mother-in-law... This image haunts Dmitriev, revealing to him all the ugliness of his act.
Dmitriev often thinks about the meaning of life. The thought of the mother's illness intensifies this reflection. Ksenia Fedorovna is used to helping everyone (with shelter, advice, sympathy). Like Tanya, who long years loves Dmitriev, she does it disinterestedly. Dmitry's mother, Ksenia Fedorovna, is opposed in the story by her mother-in-law, Vera Lazarevna, whose worldview is permeated with distrust of all people, even those closest to her.
Starting a conversation about the history of one exchange, Yu.V. Trifonov is gradually shifting to criticism of philistinism in general. It is not by chance that Dmitriev recalls his father and his brothers. The hero’s uncles were wealthy by Soviet standards, and only Victor’s father helped the provincial relatives: “Mother believed that the wives, Maryanka and Raika, infected with petty-bourgeois philistinism, were to blame for the quarrels and all subsequent misfortunes of the brothers.” Among Dmitriev's colleagues Yu.V. Trifonov draws the image of Pasha Snitkin, who knows how to arrange everything so that he is always helped. He so often manages to transfer all the work to someone else that he even got the nickname: "With-the-world-by-nitkin." Considering this image, Yu.V. Trifonov raises the problem of attitude to someone else's misfortune: Snitkin refuses to go on a business trip instead of Dmitriev, although he family problems(daughter's transfer to music school) are not as important as Dmitriev's situation.
So, in the story there is a conversation about two breeds of people: “those who know how to live” and “secretly proud of their noble inability”. For some, the whole atmosphere sparkles, for others, poverty and dilapidation flourishes.
Dmitriev has been drawn to people of the first category all his life: he admired how Lena makes the necessary acquaintances, knows how to rebuff the insolent neighbor Dusya. Victor lived with Lena, as if drugged. Only once did his sister Laura try to open his eyes to the fact that the efficiency of the wife he so admired looked impudent and impudent in the eyes of his relatives. They were especially struck by the fact that Lena moved the portrait of her father from the middle room to the entrance. The new relatives of Victor's grandfather seemed to be strangers and alien in spirit. When Lena later cried at her grandfather's funeral and talked about how she loved him, it all looked like a fake.
As the story progresses, Lena's character deepens and her grip on life intensifies: “She bit into her desires like a bulldog. Such a pretty bulldog woman with short haircut straw-colored and always pleasantly tanned, slightly swarthy face. She did not let go until the desires - right in her teeth - did not turn into flesh. Lena's goal in life is to make a career. She got a job at IMKOIN, where "two perfectly arranged friends in this life" work. And Lena's father helps her husband get a job, and even to the place where Dmitriev's friend Lev was aiming.
Then it turns out that Victor once loved to draw, but did not, having cut himself off in the exam, fight for his dream.
When Victor invites his mother to move in, she at first refuses and says that he has already made his exchange, and then unexpectedly agrees, obviously realizing that she is not invited to live together, but simply to transfer the living space before her death.
Thus, the behavior of the characters in everyday situations becomes a kind of criterion for testing their spiritual qualities. The petty-bourgeois-philistine Lukyanov principle collides in the story with the ascetic views of the Russian intelligentsia that dominated the Dmitriev family.
The protagonist of the story tries to act from a position of moral compromise. However, it is not possible to please his wife and mother at the same time, and then the hero chooses Lena. When Victor invites his mother to make an exchange, she replies that he has already made it. Here it means moral exchange, the exchange of values that the hero makes when he enters a new family.
/ / / moral issues in Trifonov's story "Exchange"
In Trifonov's story, among other problems, the question of a moral nature is raised.
The mother of the protagonist Dmitriev was diagnosed with a malignant tumor. The man was very worried, even though the operation was successful and the woman's health improved.
However, his wife did not share his feelings. All the woman's thoughts were occupied housing issue". She found a "decent" living space, and was preparing for a serious conversation with her husband.
During a conversation with Lena, Dmitriev did not support the idea of an exchange. He was outraged by the cold calculation of his wife and her heartlessness in this situation. He condemned his wife for her lack of sympathy for her mother. The man believed that such behavior would be tactless and would not bring anything good. Moreover, the women did not get along with each other for a long time. And because of this, the issue of cohabitation was not relevant. The couple did not come to an understanding that evening.
However, Lena's persistence nevertheless "broke" the man, and this was not the first time. Under her sensitive "guidance" he occupied a new position, which was previously intended for his friend. Workplace was much more promising than the one that Dmitriev occupied at that time. Therefore, Lena's father, Lukyanov, after talking with his daughter, made every effort to ensure that his son-in-law was in a new workplace.
Nothing could stop the Lukyanovs on the way to achieving their goal. They were distinguished by unscrupulousness and a certain composure. Therefore, the illness of the mother-in-law did not stop Lena, but rather pushed her to action. While the husband was immersed in caring for his mother, the woman was looking for options for exchanging living space.
To all Dmitriev's reproaches, the wife had a weighty argument - she is trying not only for herself, but first of all for him and their joint daughter Natasha. After these words, the man gave up. He seriously began to think about the fact that it would actually be good if they began to live with their mother and exchange housing.
With this thought, he prepared for the most important conversation with his sister and Ksenia Feodorovna herself. The man understood that women were unlikely to like this idea, despite the difficult situation.
Both Lena and her husband put their interests first. At the same time, Dmitriev finds an excuse for himself. But he sees his son through and through. She condemns him for the fact that his son "became a fool", and gradually lost his human qualities.
The exchange that the son and daughter-in-law insisted on was made. The Dmitriev family moved into a room with Xenia Feodorovna, and the woman even temporarily felt better. However, she was able to discern in her son those features that she despised in her daughter-in-law. For the woman, this was another shock. She realized that the exchange of housing was not made for the sake of her well-being and care, but only from the pragmatic considerations of the couple.
After the mother is gone, the son realizes that it is the long-awaited "exchange" that is the cause of her death. He and his wife made a cruel and, unfortunately, irreparable mistake, for which he will now have to pay alone.
The story "Exchange" was written by Trifonov in 1969 and published in the "New World" in the same year in latest issue. She opened the cycle of "Moscow Tales" about actual problems Soviet citizens.
Genre originality
In the foreground in the story are family and everyday problems that expose the philosophical questions of the meaning of human life. This is a story about decent life and death. In addition, Trifonov reveals the psychology of each character, even minor ones. Each of them has their own truth, but the dialogue does not work.
Issues
Trifonov addresses the topic of confrontation between two families. Victor Dmitriev, having married Lena Lukyanova, could not convey to her the values of the Dmitriev family: spiritual sensitivity, gentleness, tact, intelligence. On the other hand, Dmitriev himself, in the words of his sister Laura, “became lukewarm”, that is, he became pragmatic, striving not so much for material wealth as for being left alone.
Trifonov raises in the story important social problems. For the modern reader I don't understand the problem of the main character. soviet man, as if he had no property, and did not have the right to live in a normal apartment with rooms for spouses and a child. And it was completely wild that the mother’s room after death could not be inherited, but would go to the state. So Lena was only trying to save the property possible way: exchanging two rooms in a communal apartment for two-room apartment. Another thing is that Ksenia Fedorovna immediately guessed about her fatal illness. It is in this, and not in the exchange itself, that the evil emanating from the insensitive Lena lies.
Plot and composition
The main action takes place on an October afternoon and the next morning. But the reader gets acquainted not only with the whole life of the protagonist, but also learns about the families of the Lukyanovs and Dmitrievs. This Trifonov achieves with the help of retrospection. The protagonist reflects on the events happening to him and his own actions, remembering the past.
The hero faces a difficult task: to inform the terminally ill mother, who is unaware of the seriousness of her illness, and her sister that Lena's wife is planning an exchange. In addition, the hero needs to get money for treatment for his sister Laura, with whom her mother lives now. The hero solves both tasks brilliantly, so the former lover offers him money, and by moving to his mother, he supposedly helps his sister leave on a long business trip.
The last page of the story contains the events of six months: there is a move, the mother dies, the hero feels miserable. The narrator adds on his own behalf that Dmitriev's childhood home was demolished, where he was never able to convey family values. So the Lukyanovs defeated the Dmitrievs in a symbolic sense.
Heroes of the story
The protagonist of the story is 37-year-old Dmitriev. He is middle-aged, plump, with an eternal smell of tobacco from his mouth. The hero is proud, he takes the love of his mother, wife, mistress for granted. life credo Dmitriev - "I got used to it and calmed down." He comes to terms with the fact that his loving wife and mother do not get along.
Dmitriev defends his mother, whom Lena calls a hypocrite. The sister believes that Dmitriev has gone rogue, that is, he betrayed his high spirit and disinterestedness for the sake of the material.
Dmitriev considers peace to be the most valuable thing in life and protects it with all his might. Another value of Dmitriev and his consolation is that he has "everything like everyone else."
Dmitriev is helpless. He cannot write a dissertation, although Lena agrees to help in everything. Especially revealing is the story of Lyovka Bubrik, whom his father-in-law, at the request of Lena, found a good place in GINEGA, where Dmitriev himself eventually went to work. And Lena took all the blame. Everything was revealed when Lena, at Ksenia Fedorovna's birthday, said that it was Dmitriev's decision.
At the end of the story, Dmitriev's mother explains the subtext of the exchange made by the hero: having exchanged true values for momentary gain, he lost his emotional sensitivity.
Dmitriev's wife Lena is smart. She is a specialist in technical translation. Dmitriev considers Lena selfish and callous. According to Dmitriev, Lena notes some spiritual inaccuracy. He throws an accusation in his wife's face that she has a mental defect, underdevelopment of feelings, something subhuman.
Lena knows how to get her way. Wanting to exchange an apartment, she cares not about herself, but about her family.
Dmitriev's father-in-law, Ivan Vasilyevich, was a tanner by profession, but he was advancing along the trade union line. Through his efforts, a telephone was installed in the dacha six months later. He was always on the alert, he did not trust anyone. The father-in-law's speech was full of clericalism, which is why Dmitriev's mother considered him unintelligent.
Tanya is Dmitriev's former mistress, with whom he got together 3 years ago for one summer. She is 34 years old, she looks sickly: thin, pale. Her eyes are big and kind. Tanya is afraid for Dmitriev. After a relationship with him, she stayed with her son Alik: her husband quit his job and left Moscow, because Tanya could no longer live with him. Her husband really loved her. Dmitriev thinks that Tanya would be the best wife for him, but leaves everything as it is.
Tatyana and Ksenia Fedorovna are nice to each other. Tatyana pities Dmitriev and loves him, while Dmitriev pities her only for a moment. Dmitriev thinks that this love is forever. Tatyana knows many poems and reads them by heart in a whisper, especially when there is nothing to talk about.
Mother Dmitrieva Ksenia Fedorovna is an intelligent, respected woman. She worked as a senior bibliographer in one of the academic libraries. The mother is so simple-hearted that she does not understand the danger of her illness. She made peace with Lena. Ksenia Fedorovna is "benevolent, compliant, ready to help and takes part." Only Lena does not appreciate this. Ksenia Fedorovna is not inclined to lose heart, she communicates in a joking manner.
Mother loves selflessly to help distant acquaintances and relatives. But Dmitriev understands that the mother is doing this in order to be reputed a good man. For this, Lena called Dmitriev's mother a hypocrite.
Dmitriev's grandfather - keeper family values. Lena called him a well-preserved monster. Grandfather was a lawyer who graduated from St. Petersburg University, in his youth he was in a fortress, was in exile and fled abroad. Grandfather was small and shrunken, his skin was tanned, and his hands were clumsy and disfigured by hard work.
Unlike the daughter, the grandfather does not despise people if they belong to a different circle, and does not condemn anyone. He lives not in the past, but in his short future. It was the grandfather who gave a well-aimed description of Victor: “You are not a bad person. But not amazing either."
Laura, Dmitriev's sister, is middle-aged, with gray-black hair and a tanned forehead. She spends 5 months every year Central Asia. Laura is cunning and perspicacious. She did not come to terms with Lena's attitude towards her mother. Laura is uncompromising: “Her thoughts never bend. Always sticking out and pricking.
Artistic originality
The author uses details instead of lengthy characteristics. For example, the sagging belly of his wife, seen by Dmitriev, speaks of his coldness towards her. Two pillows on the matrimonial bed, one of which, stale, belongs to the husband, indicate that there is no true love between the spouses.
/ / / Analysis of Trifonov's story "Exchange"
In Trifonov's "Exchange" we are talking oh simple life situation in which anyone could be. The hero of the story is faced with a difficult choice on which the fate of himself, as well as family members, will depend. Agree with wife and move to new apartment, but live with his mother, or leave everything as it is.
It should be noted that the relationship between his wife and Ksenia Fedorovna had long been hostile. So if the outcome of events begins to develop according to the "scenario" that Lena came up with, then the question arises, what does she want to achieve with this exchange?
To understand this, you need to know at least a little about the character, and he is not at all simple with her. If a girl wanted something from life, then she definitely achieved it. For her, there were no boundaries, and she could easily go beyond the "framework" of decency or morality.
Therefore, the conversation that began confused the man. After all, before Ksenia Dmitrieva was put fatal diagnosis, wife and did not want to listen about living together with her. And now she brings up the subject herself.
But what resented the man most of all was the faux pas of his wife. While his mother lay on the operating table, his wife ran around the brokers and looked for options for an exchange? She did not feel empathy, much less compassion for her mother-in-law's illness. Rather, on the contrary, the woman resolutely wanted to get the living space she occupied.
Victor did not have long to be offended by his wife. She said that the answer should be given soon and insisted on an immediate "family council" at which the topic of the exchange would be raised. The man gave up. No, he was not afraid of his wife, but really believed that it would be better for both parties. He will be able to take care of his mother, their daughter Natasha will be supervised, and he and Lena will leave the communal apartment forever.
So the man himself did not notice how he turned from a compassionate son into a prudent and selfish "outsider".
And, and his sister Laura, these changes became immediately visible. Dmitriev was told that the "exchange" took place many years ago, because the man was at the mercy of his wife.
Of course, the disinterested and generous Dmitrieva, on reflection, agreed and moved to a new apartment, although she was tormented to the last by an incomprehensible feeling. But when the woman found out about her "true" state of health, she understood why there were such changes in Lena's mind. And in this situation, Ivanova's "defect of the soul" manifested itself. But the saddest thing for a woman was that her native son allowed his wife to treat her illness with obvious blasphemy.
After Dmitrieva died, Victor became depressed. He was not pleased with the new housing, family and position. He understood that life passes, and in better side There is no change, and most likely there never will be.
Laura was very judgmental of her brother for the "exchange" that brought their mother to the grave. The parents' dacha was sold, because the brother and sister, after the death of their mother, should not be united by anything. Everyone went along the path chosen for him, and most likely these roads will not cross anywhere.
In Yuri Trifonov's story "The Exchange", two families of Dmitrievs and Lukyanovs are depicted, who became related due to the marriage of two representatives of their young generation - Victor and Lena. To a certain extent, these two families are directly opposed to each other. The author does not show their direct confrontation, which is expressed indirectly through numerous comparisons, frictions and conflicts in the relations of these families. Thus, the Dmitriev family differs from the Lukyanovs in its long-standing roots and the presence of several generations in this family name. It is tradition that ensures the continuity of moral values and ethical principles that have developed in this family. The moral stability of the members of the Dmitriev family is due to the transfer of these values from generation to generation.
However, these values are gradually leaving him and being replaced by others that are opposite to them. Therefore, the image of Fyodor Nikolaevich's grandfather, who appears in the story as a kind of ancient "monster", is extremely important for us, since many fateful events fell to his lot. historical events. But at the same time it remains real. historical personality, which makes it possible to trace the process of loss by the Dmitriev family of those qualities, life principles that distinguished their house from others. Grandfather embodies the most best qualities the houses of the Dmitrievs, which once distinguished all representatives of this kind - intelligence, tact, good breeding, adherence to principles.
Ksenia Fedorovna, the daughter of Fyodor Nikolaevich, is completely different from her father. She is characterized by excessive pride, feigned intelligence, rejection of his life principles (for example, this is manifested in the scene of a dispute with her father about contempt). It appears such a trait as "prudence", that is, the desire to look better than what it really is. Despite the fact that Ksenia Fedorovna strives to play the role of an ideal mother, she is far from positive hero, since it equally contains and negative qualities. After a while, we learn that Ksenia Fedorovna is not at all as intelligent and disinterested as she wants to seem. But, despite its shortcomings, it fully realizes itself as loving mother. She treats her only son with feeling quivering love, pities him, worries about him, perhaps even blames himself for his unrealized opportunities. In his youth, Victor drew superbly, but did not receive this gift. further development. Ksenia Fedorovna, spiritually bound by love with her son, is also the guardian internal communications the Dmitriev family.
Victor Dmitriev is finally separated and spiritually cut off from his grandfather, in relation to whom he has only "childish devotion". Hence the misunderstanding and alienation that arose in their last conversation when Victor wanted to talk about Lena, and grandfather wanted to think about death. It is no coincidence that with the death of his grandfather, Dmitriev, more than ever, felt cut off from his home, family, loss of ties with people close to him. However, the origins of the process of Victor's spiritual alienation from his family, which took on an irreversible character with the death of his grandfather, should be sought from the moment of his marriage to Lena Lukyanova. The rapprochement of the two houses becomes the cause of endless quarrels and conflicts between families and turns into the final destruction of the Dmitriev family.
The Lukyanov clan is opposite to them both in origin and occupation. These are practical people "who know how to live", in contrast to the impractical and poorly adapted Dmitrievs. The author presents the Lukyanovs much narrower. They are deprived of a home, and, consequently, of rootedness, support and family ties in this life. In turn, the absence of family ties leads to the absence of spiritual ties in this Lukyanov family, where the feeling of love, family warmth and simple human participation are unfamiliar. Relations in this family are somehow uncomfortable, official business, not at all like home. Therefore, two are not surprising fundamental features Lukyanov - practicality and incredulity. For this family, a sense of duty replaces a sense of love. It is because of the feeling of his duty to the family that Ivan Vasilyevich financially equips his house and provides for his family, for which Vera Lazarevna feels for him a feeling comparable to dog devotion, since she herself "never worked and lived on Ivan Vasilyevich's dependency."
Lena Lukyanova is an absolute copy of her parents. On the one hand, she combined her father's sense of duty and responsibility to her family, and on the other, Vera Lazarevna's devotion to her husband and family. All this is complemented by the practicality inherent in the entire Lukyanov family. So, Lena tries to carry out a profitable apartment exchange during her mother-in-law's illness. However, all these "deals" are not something immoral for her. For the heroine, initially, only the concept of benefit is moral, because her main life principle is expediency. Finally, Lena's practicality reaches its highest limit. This is confirmed by the "mental defect", "mental inaccuracy", "underdevelopment of feelings", noticed in it by Victor. In this lies her tactlessness in relation to close people (an apartment exchange started out of place, a quarrel that arose due to the movement of Lena's father's portrait in the Dmitrievs' house). In the house of the Dmitriev-Lukyanovs there is no love and family warmth. The daughter of Lena and Victor, Natasha, does not see affection, because for her mother "the measure parental love"is an English special school. Hence the constant falsehood, insincerity in relations between members of this family. In Lena's mind, the material replaces the spiritual. Proof of this is the fact that the author never mentions any of her spiritual qualities, talents, reducing everything exclusively to the material. On the other hand, Lena is much more viable than her husband, she is morally stronger and more courageous than him. The situation of the merger of two families, the combination of spiritual principles and practicality, shown by Trifonov, leads to the victory of the latter. Victor finds himself crushed as a person by his wife and, in the end, "sucks".
The story "Exchange" begins at a tragic moment in the hero's life - the fatal illness of the mother and the apartment exchange started in this connection. Thus, the author puts his hero before a choice, since it is in such a situation that the true essence of a person is manifested. Subsequently, it turns out that Viktor Dmitriev is a weak-willed person, constantly making worldly compromises. He seeks to get away from the decision, from responsibility and the desire to preserve the usual order of things at all costs. The cost of choosing Victor is extremely bitter. for the sake of wealth and settled life, he loses his mother. But the worst thing is that Victor does not blame himself either for the death of his mother or for breaking spiritual ties with his family. He lays all the blame on the confluence of circumstances that he was never able to overcome, on the irresistible "lukianization". At the end of the story, Victor bitterly admits that he "really does not need anything", that he is only looking for peace.
From that moment on, his rapid "lukyanization" begins. Victor finally loses his spiritual qualities and moral education, originally inherent in the Dmitrievs' house. Gradually, he turns into a cold, mentally callous person, living in self-deception and taking everything for granted, while his youthful aspirations and real, sincere dreams turn into inaccessible dreams. So the hero dies spiritually, degrades as a person and loses family ties.
No less important semantic load bears the image of Tanya, embodying normal human connections, relationships and sincere love. She lives according to a completely different system of moral values, according to which it is impossible for her to live with an unloved person, even if he loves her. In turn, this man who loves her quietly leaves, allowing Tanya to live her life. That's what it is real love- the desire for good and happiness to a loved one. Despite all the misfortunes that befell her, Tanya managed to maintain her spiritual world. Thanks in large part to their internal integrity, strong moral principles and spiritual strength, she managed to survive in this life. Thanks to these qualities, Tanya is much stronger and stronger than Victor. Her "exchange" turned out to be much more honest than Dmitriev's material "exchange", since it was carried out in accordance with feelings and at the call of the heart.
"You have already exchanged, Vitya. The exchange has taken place," - such is the dramatic finale of the "exchange", put into the mouth of the mother of Viktor Dmitriev, who exchanged his way of life, moral values And life principles the Dmitriev family on the practical way of life of the Lukyanovs. Thus, the exchange that took place is not so much a material transaction as a spiritual and psychological situation.
The general leitmotif of Yuri Trifonov's story "The Exchange" is reflections on the ever-decreasing spiritual relations between people and the rapidly thinning human ties. Hence follows the main problem personality - the lack of spiritual ties with other people and, in particular, with loved ones. According to the author, relationships within the family are more dependent on spiritual closeness, on the depth of mutual understanding, and these are very difficult and subtle things that require the usual warmth and sensitivity. This is the tragedy of the Dmitriev-Lukyanov family. Without all these qualities, the family simply cannot exist. As a result, only the outer shell remains, destroyed inside and spiritually disunited.
