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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 (flooding native village in "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 modern man. To your goal author goes, 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. From love to small homeland originate all the books of V.G. Rasputin, so I would like to consider this topic Firstly. 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, Matera has made many people happy. 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 Egor and Nastasya postpone their departure again and again, how they do not want to leave native side, how Bogodul desperately fights for the preservation of the cemetery, because it is sacred for the inhabitants of Matera: “And the old women crawled around the cemetery until the last night, stuck crosses back, 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 you wonder if a person who has left his native land, who broke with his roots, happy, and, burning bridges, leaving Matera, does 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", dismissive attitude to their small homeland (“It should have been drowned a long time ago. It doesn’t smell alive ... not people, but bedbugs and cockroaches. They found a place to live - in the middle of the water ... like frogs”) characterizes the heroes 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 Grigorievich Rasputin - one of the called masters " village prose", one of those who continue the traditions of Russian classical prose primarily from a moral standpoint. 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".

The story is told on the one hand by an impersonal narrator depicting events in the house 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. Lucy hurries to sew for herself while her mother is still alive black dress In order to look proper 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 "sensitively and sharply be surprised at their existence, what surrounds them at every step", they are able to understand their participation in the "endless goal" human existence: "so that the world never becomes stunted 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 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 images ordinary women distinguished by selflessness, kindness, the ability to understand the other. 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 issues 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. That's why, simple solutions you can't expect 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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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. There is a need in our society to speak and reflect on 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 we meet loss at every step 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 Michael. 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 typical representatives modern society, busy people who have a family, a job, but remembering their mother, for some reason very rarely. 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 didn't penetrate state of mind mothers, 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 showed the relationship very well modern family and their shortcomings, which are clearly manifested in critical moments, revealed the moral problems of society, showed the callousness and selfishness of people, their loss of all respect and an ordinary 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.

The composition of any work by V. Rasputin, the selection of details, visual means help to see the image of the author - our contemporary, citizen and philosopher.

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 Hard times. All his childhood was spent in the years of 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 quest occupy a significant place. His works present this problem in all its breadth and versatility. The author himself deeply moral person, as evidenced by its active public 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 man, to the depths of his consciousness and subconsciousness, to the values ​​that have been formed and preserved for centuries. folk life. In the XX century. these values ​​are valid different reasons were under threat. 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 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 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.

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 "Deadline" Rasputin vividly managed to convey the entire life path 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 through a difficult, hard life and left alone in the last hours of 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 the story combines ecological and moral questions.! 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 up 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 it for me cruel truth works of Valentin Rasputin. 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.

In our time, the problem of morality has become especially relevant, as the disintegration of the individual is taking place. In our society, there is a need for relationships between people, finally, about the meaning of life, which the heroes and heroines of V. Rasputin's stories and stories comprehend so tirelessly and so painfully. Now at every step we encounter the loss of true human qualities: conscience, duty, mercy, kindness. And in the works of V.G. 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.

In the current literature there are undoubted names, without which neither we nor descendants can imagine it. One of these names is Valentin Grigorievich Rasputin. In 1974, Valentin Rasputin wrote in the Irkutsk newspaper "Soviet Youth": "I am sure that a person's childhood makes him a writer, 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. And his own example best of all confirms the correctness of these words, because V. Rasputin, like no one else, carried through his whole life in his work its moral values.

V. Rasputin was born on March 15, 1937 in the Irkutsk region, in the village of Ust-Uda, located on the banks of the Angara, three hundred kilometers from Irkutsk. And he grew up in the same places, in the village, with the beautiful melodious estate of Atalanka. We will not see this name in the works of the writer, but it is she, Atalanka, who will appear to us both in "Farewell to Matera", and in "Deadline", and in the story "Live and Remember", where the consonance of Atamanovka is remotely but clearly guessed. Specific people will become literary heroes. Truly, as V. Hugo said, "the beginnings laid down in a person's childhood are like letters carved on the bark of a young tree, growing, unfolding with him, forming an integral part of him." And these beginnings, in relation to Valentin Rasputin, are unthinkable without the influence of the Siberian taiga itself, the Angara ("I believe that in my writing she played not last role: once in an integral moment I went out to the Angara and was stunned - and from the beauty that entered me I was stunned, as well as from the conscious and material feeling of the Motherland that emerged from it "); without a native village, of which he was a part and which for the first time made me think about relationships between people; without a pure, uncomplicated folk language.

His conscious childhood, that same “preschool and school period”, which gives a person almost more for life than all the remaining years and decades, partially coincided with the war: in the first grade of the Atalan elementary school future writer came in 1944. And although there were no battles here, life, as elsewhere in those years, was difficult. “The bread of childhood was very difficult for our generation,” the writer notes decades later. But about the same years, he will say more important, generalizing: "It was a time extreme manifestation human community, when people against big and small troubles stuck together.

The first story written by V. Rasputin was called "I forgot to ask Leshka ...". It was published in 1961 in the anthology "Angara" and then reprinted several times. It began as an essay after one of V. Rasputin's regular trips to the timber industry. But, as we later learn from the writer himself, "the essay did not turn out - the story turned out. About what? About the sincerity of human feelings and the beauty of the soul." Otherwise, probably, it could not be - after all, it was a matter of life and death. At the logging site, a fallen pine accidentally hit the boy, Lyoshka. At first, the bruise seemed insignificant, but soon pain arose, the bruised place - the stomach - turned black. Two friends decided to accompany Lyosha to the hospital - fifty kilometers on foot. On the way, he became worse, he was delirious, and his friends saw that these were no longer jokes, they were no longer up to the abstract conversations about communism that they had before, because they realized, looking at the torment of a comrade, that "this is a game of hide-and-seek with death, when he is looking for death and there is not a single reliable place to hide in. Or rather, there is such a place - this is a hospital, but it is far, still very far."

Leshka died in the arms of friends. Shock. Blatant injustice. And in the story, albeit in its infancy, there is something that will later become integral in all the works of Rasputin: nature, sensitively reacting to what is happening in the hero’s soul (“A river sobbed nearby. The moon, staring its only eye, did not take its eyes off us The stars twinkled tearfully"); painful thoughts about justice, memory, fate (“I suddenly remembered that I forgot to ask Leshka if they would know under communism about those whose names are not inscribed on the buildings of factories and power plants, who have remained invisible forever. no matter what, I wanted to know if under communism they will remember Leshka, who lived in the world for a little more than seventeen years and built it for only two and a half months.

In the stories of Rasputin, more and more people appear with a mysterious, albeit simple in appearance, inner world- people who talk to the reader, not leaving him indifferent to their fate, dreams, life. Barely outlined, their portraits in the story "They come to the Sayans with backpacks" are complemented by picturesque strokes in the guise of an old hunter who does not know how and does not want to understand why there are wars on the land ("The song is to be continued"); the theme of the unity of man and nature ("From the sun to the sun"), the theme of mutually enriching communication between people becomes deeper. ("There are footprints in the snow"). It is here that the images of Rasputin's old women appear for the first time - tuning forks, key, pivotal images of his further works.

Such is the old Tofalar woman from the story "And ten graves in the taiga", who "had fourteen children, she gave birth fourteen times, paid fourteen times for torment with blood, she had fourteen children - her own, relatives, small, big, boys and girls, boys and girls. Where are your fourteen children?. Two of them are still alive... two of them lie in the village cemetery... ten of them are scattered across the Sayan taiga and the animals have stolen their bones." Everyone has already forgotten about them - how many years have passed; everything, but not her, not her mother; and now she remembers everyone, tries to evoke their voices and dissolve in eternity: after all, as long as someone keeps the deceased in their memory, the thin, ghostly thread that connects these different worlds together.

As soon as her heart withstood those deaths! She remembers everyone: this, four-year-old, fell off a cliff in front of her eyes - how she screamed then! This one, twelve years old, died near the shaman's yurt because there was no bread and salt; the girl froze on ice; another one was crushed during a thunderstorm by a cedar ...

All this was a long time ago, at the beginning of the century, "when all Tofalaria lay in the arms of death." The old woman sees that now everything is different, she lived, maybe that’s why she lived because she “remained their mother, eternal mother, mother, mother”, and no one except her remembers them, and kept her on the ground this is the memory and the need to leave it behind, to extend in time; that is why she calls her grandchildren the names of dead children, as if resurrecting them to a new life - to another, brighter one. After all, she is Mother.

Such is the dying shaman from the story "Oh, the old woman ...". She hasn't been a shaman for a long time; they love her because she knew how to work well together with everyone, she hunted sable, herded deer. What torments her before death? After all, she is not afraid to die, because "she fulfilled her human duty ... her family continued and will continue; she was a reliable link in this chain to which other links were attached." But only such a biological continuation is not enough for it; she considers shamanism no longer an occupation, but part of the culture, customs of the people, and therefore she is afraid that it will be forgotten, lost if she does not pass on to anyone at least its external signs. In her opinion, "a person who ends his family is unhappy. But a person who stole his ancient property from his people and took it with him to the ground without telling anyone anything - what to call this person ?."

I think that V. Rasputin correctly poses the question: "What is the name of such a person?" (A person who could take a piece of culture with him to the grave without passing it into the hands of other people).

In this story, Rasputin raises a moral problem expressed in relation to this old woman to a person and to the whole society. I think that before her death, she had to pass on her gift to people so that it would continue to live, like other cultural heritage.

The best work of the sixties is the story "Vasily and Vasilisa", from which a strong and obvious thread stretched to future stories. This story first appeared in the Literaturnaya Rossiya diary at the very beginning of 1967 and has since been reprinted in books.

In him, like in a drop of water, there was collected something that will not be repeated exactly later, but with which we nevertheless will meet more than once in the books of V. Rasputin: an old woman with a strong character, but with a big, merciful soul; nature, sensitively listening to changes in man.

V. Rasputin poses moral problems not only in stories, but also in his stories. 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, the author showed the relationship 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, 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, and they all parted, but fate was pleased to bring them all together at a time when her 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 a lot and missed them, and when the time came to die, only for the sake of them she remained for a few more days in this world and would have lived as long as she wanted, if only they were near, if only she had someone to live for. 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. "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." 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 passed day after day: 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 made only one formality out of their mother's illness. They did not feel the mother's state of mind, they 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 the story, V. Rasputin very well showed the relationship of the modern family and its 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 ordinary feelings 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.

V.G. 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 and other countries.

One of the best works of the seventies was the story "Live and Remember". "Live and Remember" - an innovative, bold story - not only about the fate of the hero and heroine, but also about their correlation with the fate of the people at one of the dramatic moments in history. In this story, both moral problems and problems of the relationship between man and society are touched upon.

So much has been written about this story by V. Rasputin both in our country and abroad, as, probably, about no other of his works; it was published about forty times, including in the languages ​​of the peoples of the USSR and in foreign languages. And in 1977 she was awarded State Prize THE USSR. The strength of this work is in the intrigue of the plot, and in the unusualness of the theme.

Yes, the story was highly appreciated, but not everyone understood it correctly right away, they saw in it those accents that were put by the writer. Some domestic and foreign researchers have defined it as a work about a deserter, a man who escaped from the front and betrayed his comrades. But this is the result of a superficial reading. The author of the story himself emphasized more than once: "I wrote not only and least of all about the deserter, about whom, for some reason, everyone is talking about without stopping, but about a woman ..."

The starting point from which Rasputin's heroes begin to live on the pages of the story is a simple one. natural life. They were ready to repeat and continue the movement begun before them, to complete the circle of immediate life.

“Nastya and Andrei lived like everyone else, they didn’t think about anything in particular,” work, family, they really wanted children. But there was also a significant difference in the characters of the characters, associated with life circumstances. If Andrey Guskov grew up in a wealthy family: “The Guskovs kept two cows, sheep, pigs, a bird, the three of us lived in a big house,” he didn’t know any grief from childhood, he was used to thinking and taking care only of himself, then Nastya experienced a lot: the death of her parents, hungry thirty-third year, life in working women with an aunt.

That is why she "rushed into marriage, like into the water - without much thought ...". Diligence: "Nastya endured everything, managed to go to the collective farm and almost alone carried the household", "Nastya endured: in the customs of a Russian woman, arrange her life once and endure everything that falls to her" - the main character traits of the heroine. Nastya and Andrey Guskov are the main actors story. Having understood them, one can understand the moral problems posed by V. Rasputin. They manifest themselves in the tragedy of a woman, and in the unjustified act of her husband. When reading the story, it is important to trace how in the "natural" Nastya, who finds herself in a tragic situation, a person is born with a heightened sense of guilt towards people, and in Guskov, the animal instinct of self-preservation suppresses everything human.

The story "Live and Remember" begins with the loss of an ax in a bathhouse. This detail immediately sets an emotional tone for the narrative, anticipates its dramatic intensity, carries a distant reflection of the tragic finale. The ax is the weapon used to kill the calf. Unlike Guskov's mother, who was angry at people and lacked even a maternal instinct, Nastya immediately guessed who took the ax: "... suddenly Nastya's heart skipped a beat: who would it occur to someone else to look under the floorboard." From this "suddenly" everything changed in her life.

It is very important that her instinct, instinct, animal nature prompted her to guess about the return of her husband: “Nastya sat on a bench by the window and sensitively, like an animal, began to sniff the bath air ... She was like in a dream, moving almost gropingly and not feeling neither tension nor fatigue during the day, but she did everything exactly as she planned ... Nastya sat in total darkness, barely making out the window, and felt like a small unfortunate little animal in a daze.

The meeting, which the heroine had been waiting for three and a half years, every day imagining what she would be, turned out to be "thieves' and creepy from the very first minutes and from the very first words." Psychologically, the author very accurately describes the state of the woman during the first meeting with Andrey: “Nastya could hardly remember herself. feelings, and when a person exists as if not his own, as if connected from the outside, emergency life. She continued to sit, as in a dream, when you see yourself only from the outside and you can’t dispose of yourself, but only wait for what will happen next. All this the meeting turned out to be too false, powerless, dreaming in a bad oblivion, which will sink away with the first light. Nastya, not yet understanding, not realizing this with her mind, felt like a criminal in front of people. She came on a date with her husband like a crime. The beginning inner struggle, which is not yet realized by her, is due to the confrontation of two principles in her - the animal instinct ("little animal") and the moral one. In the future, the struggle of these two principles in each of Rasputin's heroes takes them to different poles: Nastya approaches the highest group of Tolstoy's heroes with a spiritual and moral beginning, Andrei Guskov - to the lowest.

Still not realizing everything that happened, not yet knowing what way she and Andrey would find a way out, Nastya, quite unexpectedly for herself, subscribes to a loan for two thousand: “Maybe she wanted to pay off her man with bonds ... It seems that she didn’t think about him at that time, But after all, someone could think for her." If Guskov’s animal nature breaks out of his subconscious in the war (“a bestial, insatiable appetite” in the infirmary), then in Nastya unconsciously, the voice of conscience speaks, the moral instinct.

Nastya lives so far only with a feeling, pitying Andrei, close, dear, and at the same time feeling that he is a stranger, incomprehensible, not the one whom she escorted to the front. She lives in the hope that over time everything will definitely end well, you just have to wait, be patient. She understands that Andrei alone cannot bear his guilt. "She's too much for him. So what now - give up on him?"

Now let's turn to Guskov. When the war began, "Andrey was taken in the very first days," and "during the three years of the war, Guskov managed to fight in a ski battalion, and in a reconnaissance company, and in a howitzer battery." He "adapted to the war - he had nothing else to do. He did not climb ahead of others, but he also did not hide behind other people's backs. Among the scouts, Guskov was considered a reliable comrade. He fought like everyone else - no better and no worse."

The animal nature in Guskovo during the war openly revealed itself only once: "... in the infirmary, he, deaf, had a bestial, insatiable appetite." After Guskov was wounded in the summer of 1944 and spent three months in a Novosibirsk hospital, he deserted without receiving the leave he had hoped for. The author openly speaks about the causes of the crime: "He was afraid to go to the front, but more than this fear was resentment and anger at everything that brought him back to the war, not allowing him to go home."

Involuntary resentment at everything that remained in place, from which he was torn off and for which he had to fight, did not pass for a long time. And the more he looked, the more clearly and irremediably he noticed how calmly and indifferently the Angara flows towards him, how indifferently, not noticing him, they glide past the shore on which he spent all his years - they glide, leaving for another life and for others. people, to what will come to replace him. He was offended: why so soon?

Thus, the author himself identifies four feelings in Guskov: resentment, anger, loneliness and fear, and fear is far from the main reason for desertion. All this lies on the surface of the text, but in its depths there is something else that is revealed later, in the "mutual", "prophetic" dream of Andrei and Nastya.

The heroes of Rasputin had a dream about how Nastya repeatedly came to Andrey at the front line during the night and called him home: “Why are you stuck here? I toss and turn, but you can't understand: no and no. I want to hint and I can't. You're angry with me, you're persecuting me. last time, I do not remember. It's a dream, you see what it is. On two sides. In one night, go, and dreamed of both. Maybe my soul has visited you. That's why it all fits."

"Natural man" Guskov for two years did not respond to the call of nature itself in the person of Nasten and honestly fought, obeying moral laws- duty and conscience. And now, overwhelmed with resentment and anger at the "hospital authorities", who unfairly refused him leave ("Is it right, fair? He would only have one - the only day to go home, calm his soul - then he is again ready for anything"), Guskov turns out to be in the power of natural instincts - self-preservation and procreation. Suppressing the voice of conscience and a sense of duty to people, to the Motherland, he arbitrarily goes home. Guskov cannot resist this call of nature, which also reminds of the sanctity of a person’s natural duty: “Let anything now, even tomorrow into the ground, but if it’s true, if it remains after me ... Well, my blood has gone further, has not ended, didn’t dry up, didn’t wither, but I thought, I thought: the end is on me, everything, the last one, ruined the family. And he will begin to live, he will pull the thread further. then Nastya! You are my Mother of God!"

In the mutual dream of the heroes of Rasputin, two plans can be distinguished: the first is the call of nature. The complexity, not the obviousness of this is due to the fact that the instinct of self-preservation (fear) declares itself in full voice and is realized by Guskov himself (by the end of the war, "the hope of surviving grew more and more, and fear more and more often approached"), and the instinct of procreation acts subconsciously, as a dictate of fate. The second plan is prophetic, as a harbinger of the tragic ending of the story (“Still hoping for something, Nastya continued to inquire: “And not once, not once have you seen me with a child after that? Remember it well.” - “No, not once ").

“Sharpening his eyes and ears every minute,” secretly, on wolf paths, returning home, he declares to Nastya at the very first meeting: “I’ll tell you this right away, Nastya. Not a single soul should know that I’m here. Tell someone - If I kill you, I have nothing to lose." He repeats the same during the last meeting: “But remember again: if you tell someone that I was, I’ll get it.

rasputin lesson french moral

The moral principle in Guskov (conscience, guilt, repentance) is completely replaced by the bestial desire to survive at any cost, the main thing is to exist, even as a wolf, but to live. And now he has already learned to howl like a wolf

("It would be useful to frighten good people," Guskov thought with malicious, vengeful pride).

The internal struggle in Guskovo - the struggle between the "wolf" and the "man" - is painful, but its outcome is predetermined. “Do you think it’s easy for me to hide like a beast here? Eh?

War leads to a tragic conflict between the social and the natural in man himself. War often cripples the souls of people who are weak in spirit, kills the human in them, awakening base instincts. Does the war turn Guskov, a good worker and soldier, who "among the scouts was considered a reliable comrade", into a "wolf", into a forest beast? This transformation is painful. "All this is war, all of it - he again began to make excuses and conjure. - It was not enough for her to be killed, crippled, she still needed people like me. Where did she fall from? - all at once? - a terrible, terrible punishment. And me, beckoning there too , in this hell, - not for a month, not for two - for years. Where was the urine to take to endure it longer? As much as I could, I grew strong, and not immediately, I brought my benefit. Why should I be equated with others, with cursed, who started with harm and ended with harm? Why are we destined for the same punishment? Why are we destined for the same punishment? It is even easier for them, at least their soul does not toil, but then, when it is still curled up, it will become insensible ...

Guskov clearly understands that "fate has turned him into a dead end, from which there is no way out." Anger at people and resentment for themselves demanded a way out, there was a desire to annoy those who live openly, without fear and without hiding, and Guskov steals fish without extreme necessity, after sitting on a block of wood, rolls it out onto the road ("someone will have to clean "), hardly copes with the "fierce desire" to set fire to the mill ("I so wanted to leave a hot memory for myself"). Finally, on the first of May, he brutally kills the calf, kills it with a butt on the head. Involuntarily, you begin to feel a sense of pity for the bull, which "roared from resentment and fear ... exhausted and overstrained, overstrained with memory, understanding, intuition for everything that was in it. In this scene, in the form of a calf, nature itself opposes criminals, murderers and threatens them retribution.

If in Guskov the struggle between the “wolf” and the “soul”, in which “everything burned to the ground”, ends with the victory of the animal nature, then in Nastya, the “soul” declares itself in full voice. For the first time, a feeling of guilt before people, alienation from them, the realization that "he has no right to speak, cry, or sing along with everyone" came to Nastya when the first front-line soldier, Maxim Vologzhin, returned to Atomanovka. From that moment on, painful torments of conscience, a conscious sense of guilt in front of people do not let Nastya go day or night. And the day when the whole village rejoiced, marking the end of the war, seemed to Nastya the last, "when she can be with people." Then she is left alone "in a hopeless, deaf void", "and from that moment Nastya seemed to be touched by her soul."

The heroine of Rasputin, accustomed to living with simple, understandable feelings, comes to the realization of the infinite complexity of man. Nastya now constantly thinks about how to live, for what to live. She fully realizes "how embarrassing it is to live after everything that happened. But Nastya, despite her willingness to go to hard labor with her husband, turns out to be powerless to save him, unable to convince him to come out and obey people. Guskov knows too well: while the war is going on, according to the harsh laws of the time, he will not be forgiven, they will be shot.

Hiding her husband, a deserter, Nastya realizes this as a crime against people: “The court is close, close - is it human, the Lord’s, is it your own? - but close.

Nothing in this world is given for free. " Nastya is ashamed to live, it hurts to live.

"Whatever I see, whatever I hear, it only hurts my heart."

Nastya says: “It’s a shame ... does anyone understand how shameful it is to live when another in your place could live better? How can you look people in the eye after that? Even the child that Nastya is waiting for cannot keep her in this life, because and "a child will be born to shame, from which he will not be separated all his life. And the parental sin will go to him, a severe, heart-rending sin - where to go with him? And he will not forgive, he will curse them - on business.

It is conscience that determines the moral core of the Russian national character. For the unbelieving Nastya, as shown above, everything is determined by the voice of conscience, she no longer has the strength to further fight for the salvation of her husband, but her child, and she succumbs to the temptation to end everything at once and, thus, commits a crime against an unborn child .

Semyonovna was the first to suspect her, and, having learned that Nastya was expecting a child, her mother-in-law kicked her out of the house. But Nastya "did not take offense at Semyonovna - what is there, really, to be offended? This was to be expected. And she was not looking for justice, but at least a little bit of sympathy from her mother-in-law, her silent and things guess that the child against whom she took up arms , is not a stranger to her. What then can you count on people for?

And the people themselves, tired and exhausted by the war, did not regret Nastya.

“Now, when there was no need to hide the stomach, when everyone, who was not lazy, poked his eyes at him and drank, as if with sweetness, his revealed secret.

No one, not a single person, not even Liza Vologzhina, who was on the board, cheered:

they say, hold on, spit on the talk, the child you give birth to is yours, not someone else's child, you should take care of it, and people, give it time, will calm down. Why should she complain about people? “She left them herself.” And when people began to follow Nastya at night and “didn’t let her see Andrei, she was completely lost; fatigue passed into a welcome, vengeful despair. She didn’t want anything anymore, she didn’t hope for anything, an empty, nasty heaviness settled in her soul.

In the story of V.G. Rasputin's "Live and Remember", as in no other work, reflects moral problems: this is the problem of the relationship between husband and wife, man and society, and the ability of a person to behave in a critical situation. The stories of V. Rasputin help people to understand and realize their problems, to see their shortcomings, since the situations analyzed in his books are very close to life.

Moral problems are also devoted to one of latest works V. Rasputin is the story "Women's Conversation", published in 1995 in the magazine "Moscow". In it, the writer showed the meeting of two generations - "granddaughters and grandmothers."

Vika's granddaughter is a tall, full-bodied girl of sixteen years old, but with a childish mind: "the head lags behind," as the grandmother says, "asks questions where it's time to live with the answer," "if you say, you will do it, if you don't say, you won't guess."

"Hidden some kind of girl, quiet"; in the city "contacted with the company, and with the company at least to the devil on the horns." Dropped out of school, started disappearing from home.

And something happened that should have happened: Vika became pregnant and had an abortion. Now she was sent to her grandmother for "re-education", "until she came to her senses." To better understand the heroine, you need to give her speech characteristic. Vika - "some kind of secret", - says the author himself, this is noticeable in her speech. She speaks little, her sentences are short and resolute. Often speaks reluctantly. There are many in her speech. modern words: leader - a person who is not dependent on anyone; chastity - strict morality, purity, virginity; rhyme - consonance of poetic lines; purposefulness - having a clear goal. But they understand these words with their grandmother in different ways.

Grandmother says this about modern life: "A man is driven out into some cold, ventilated expanse, and an unknown force drives him, drives him, not letting him stop." And this one modern girl finds himself in a new environment, in a remote village. The village appears to be small. The houses have stove heating, my grandmother does not have a TV, you have to go to the well for water.

Electricity is not always in the house, although nearby is the Bratsk hydroelectric power station. People go to bed early. Vika was sent here because they wanted to "tear" her away from the company. Maybe they hoped that the grandmother would be able to make Vika look at life in a new way. So far, no one has been able to pick up the keys to Vicki's soul. Yes, and there was no time to do it to others in the general race.

We learn about grandmother Natalya that she lived a long, difficult, but happy life. At the age of eighteen, she "changed the old dress into a new one" and in a hungry year she got married unmarried. Grandmother Natalya believes that she was lucky with her husband: Nikolai is a hard man, it was easy for her to live behind him: "You know that there will be on the table, and in the yard, and support for the children." Nicholas loved his wife. He dies in the war, having ordered his front-line friend Semyon to patronize Natalya. For a long time Natalya did not agree to marry Semyon, but then she realized that he needed her, that without her "he would not last long." "Humbled up and called him." "He came and became the master." It seems that Natalia was happy. After all, she speaks so well about her second husband Semyon: “When he touched me ... he fingered string after string, petal after petal.

There are many such words in the speech of grandmother Natalya, which she pronounces in her own way, putting a deep meaning into them. There are many expressions in her speech, filled with knowledge of life, human relationships. "Only - only scratching at the door, where people live, and already tired!" Spending - to spend, to give away part of oneself. Chastity is wisdom, wisdom. Purposeful - this is the most unfortunate woman, like a hound dog, who drives through life, noticing anyone and nothing.

“Smiling,” says Natalya about herself. “The sun loved to play in me, I already knew this about myself and gained more sun.”

And these women of different ages, living under the same roof, blood relatives start a conversation about life. The initiative is in the hands of grandmother Natalia. And throughout their conversation, we understand Vicki's condition. She says: "Everything is tired ...". In her own way, Vika worries about herself, she understands, apparently, that she did not do the right thing. And he doesn't know how to. Vika speaks of purposefulness, but she herself has no goals and interest in life. Something is clearly broken in her, and she does not know how to live on.

It is important for grandmother to hear from Vika the answer to her question: "... did you have a property or a sin? How do you look at yourself?"

Grandma would never forgive a conscious sin. With every sin, a person loses a part of himself. No wonder the grandmother says: "I took on such an expense!"

Natalya wants her granddaughter to gather herself, save herself bit by bit, prepare herself for marriage. Natalia has her own idea of ​​a bride. "Affectionate, but clean, but sonorous, without a single crack, what a white, but looking, but sweet." We also learn about what it means to love in the view of Natalia and what was their love with Semyon. “Love was like not to be, but different, early, she didn’t collect pieces like a beggar. I thought: he’s no match for me. Why should I poison myself, fool him, why make people laugh, if we are not a couple? I didn’t want to take a visit to my place, it’s not for me, but for a stable life you need an equal. There was respect for each other, attention, care, common goal, pity, sympathy - this was the basis of life, it was "early" love.

This conversation is important for both: the grandmother, talking about herself, conveys her life experience, views on life, supports her granddaughter, instills confidence in her, creates the basis for later life - I will stand, as she says, herself.

And for Vika, this conversation is the beginning of a new life, the realization of her "I", her purpose on earth. The conversation touched on Vika, "the girl was restlessly falling asleep - her shoulders twitched, at the same time trembling, her left arm, the faces of the nest, stroked her stomach, her breath then began to part, then turned into smooth, inaudible strokes."

Reading this story, together with the characters, you experience a difficult life situation and understand that you need to prepare yourself for a “sustainable” life, as Natalya says, because without “sustainability it will wear you out so much that you won’t find any ends.”

The last work of V. Rasputin is the story "To the same land". It, like other stories, is devoted to the moral problems of modern society. And throughout the work there is a problem dedicated to the relationship of children to their mothers. V. Rasputin reveals to us the destinies of the people on the example of Pashuta's mother. The general background of life is a village that personifies antiquity, the Lena and Angora expanses, where THEY exercise their will, finally destroying all age-old foundations, Rasputin tells with bitter humor about the gigantic deeds of the authorities who crushed everything under them.

"The village still stood under the sky" (it no longer stood under the state). There was no collective farm, no state farm, no shop. "They let the village go to full heavenly freedom." In winter everything was covered with snow. The men worked. And they drank, they drank.

"Nothing was needed." And the village? Abandoned, she is waiting for someone to give herself to, who would bring bread. The complete absence of human rights is noteworthy. Either one or the other rules, but in the name of what? The authorities have brought life to the point of absurdity. The village has become a poor consumer, waiting for someone to bring bread.

This is a village. A village that has lost its essence. The authorities, trumpeting the greatness of the communist construction projects, brought the village to such a state. And the city? His characterization is given in the form of a newspaper article. Aluminum plant, timber industry complex. All of the above creates the appearance of a sprawling monster that has no boundaries. The author uses the metaphor "pit" taken from Platonov.

The main character of the story is Pashuta. She goes to Stas Nikolaevich, who was supposed to make the coffin of her mother (the village is located thirty kilometers from the city, but it is within the city limits. Sweep in all directions. Chaos and lawlessness. And not only on Earth). They built the city of the future, but built a "slow-acting chamber" under open sky. This metaphor enhances the sound of the work. All living things die. The gas chamber has no boundaries, just like the city. This is genocide against the whole nation.

So, great country Communism creates an environment where a conflict arose between the people and the authorities. In the story, the conflict is local, but its central power is felt everywhere. The author does not give them either a name, or a surname, or a position. They are a multiple faceless mass, irresponsible in relation to the fate of the people. They crave dachas, cars, deficits, and they stay in the Angora region until they receive seniority, and then they go south, where houses are built for them in advance. When the construction was over, there were none of the "temporaries" left. Their image brings misfortune to the people.

Pashuta devoted her whole life to working in the canteen, she is far from politics and power. She is tormented in search of an answer and does not find it. She herself wants to bury her mother, but does not want to go to THEM. She has no one. She tells Stas Nikolaevich about this. Pashuta is firmly convinced that she is in the arms of fate, but she has not lost the thread common sense, the soul works. She is a romantic, uprooted from the earth. She allowed herself to be introduced into the ranks of the builders of communism. At the age of seventeen, she ran away to a construction site to cook cabbage soup and fry flounder for the voracious builders of communism "towards the morning dawn along the Angara ..." Pashuta was left without a husband early, lost the opportunity to be a mother, lost contact with her mother. Left alone - alone.

She got old early. And then in the story there is a description of the whirlwind, the rhythm of her life. Therefore, naturally, the reader does not have a portrait of Pashenka, Pasha, but immediately of Pashut, as if there was no one to look at her, peer into her. She peers into herself, into an uncurtained mirror after the death of her mother, finds "traces of some kind of slovenliness - a woman's mustache." Further, the author writes that she was kind, disposed towards people, pretty ... with a sensual protruding lip ... In her youth, her body was not an object of beauty, it was filled with spiritual beauty. And now she could be mistaken for a heavy drinker woman.

Her physical weakness is emphasized - not walking, swollen legs, she hobbled to the house, walked with a heavy tread. Pashuta did not smoke, but her voice was rough. Became overweight figure changed character. Goodness was somewhere in the depths, but it cannot break out. The life of Pashuta was illuminated by the granddaughter of Tanka from her adopted daughter. The author is convinced how important it was for Pashuta to care and love. She did not manage to comprehend this secret in her whole life. “She didn’t want to give her ice cream, but her soul ...” (about Tanka). She rejoices, and Pashuta kicks her out to her friend. Pashuta is smart and understands her inferiority. Their long-term relationship with Stas Nikolaevich is breaking up. She was ashamed to show her figure. What happened to this woman? We see her torn from her roots, found herself in a "pit", homeless, rootless. Femininity, softness, charm disappear. Her life path is very simple: from the head of the dining room to dishwashers, from satiety to handouts from someone else's table. There is a process of loss by a woman of the properties that nature endowed her with. The loner is plowed already in the second generation. She shows firmness and conscience, which helps her to survive, fulfills her daughter's duty to the limit of her strength and capabilities.

If Pashuta has aversion to power on household level, then he has - on a state scale "They took us with meanness, shamelessness, rudeness." Against this weapon there is no: "I built an aluminum plant with these hands." His appearance also changed. Pashuta noticed on his face "a smile that looked like a scar. A person of another world, another circle goes the same way as she." They both reached the chaos in which they remain.

The author hints at the power of money, at her mercy, giving a piece of bread, at depreciation human life. At the behest of the author, Stas Nikolaevich says: "They took us with the 'meanness, shamelessness, swagger' of the authorities."

In the late 70s - early 80s, Rasputin turned to journalism ("Kulikovo Field", "Abstract Voice", "Irkutsk", etc.) and stories. The magazine "Our Contemporary" (1982 - No. 7) published the stories "Live for a century - love a century", "What can I tell a crow?", "I can't - at ...", "Natasha", opening new page V creative biography writer. Unlike early stories, in the center of which was the fate or a separate episode of the hero's biography, the new ones are distinguished by confession, attention to the subtlest and most mysterious movements of the soul, which rushes about in search of harmony with itself, the world, the Universe.

In these works, as in early stories and stories, the reader sees the artistic features inherent in all the work of V.G. Rasputin: journalistic intensity of the narration; internal monologues of the hero, inseparable from the voice of the author; appeal to the reader; conclusions-generalizations and conclusions-assessments; rhetorical questions, comments.

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. 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 from the fire people's good, and who pulls what you can for yourself. The way people behave in extreme situation, serves as an impetus to the painful thoughts of the protagonist of the story, the driver Ivan Petrovich Egorov, in which Rasputin embodied folk character truth-seeker, suffering at the sight of the destruction of the age-old moral basis 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 is required a large number 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 finds himself in a position 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 a difficult past working life. Now they live, as it were, for the continuation of the family (human) race, considering this their own. main goal. Rasputin makes them carriers of folk moral values and contrasts them with “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 goodies- 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.