In the story "Matryonin Dvor" by A.I. Solzhenitsyn, the Russian village life of the second half of the twentieth century is shown. In the center of the story is Matryona, who combines two images typical of Russian literature. The image of the Nekrasov Russian woman and the image of the righteous, without which, as the well-known Russian proverb says, a village cannot stand.

The main heroine of the story is a real embodiment of the image of a strong, selfless woman, whose hard lot falls a lot of troubles: unhappy love, death of children, loss of her husband, illness that overtakes her every month. The image of Matryona is close to the image of Russian women by Nekrasov. A woman in Nekrasov's poetry is always doomed to injustice, her unfortunate fate is predetermined by the society in which she lives. So in the work of Solzhenitsyn, Matryona is a woman of incredible strength, but living in injustice.

But not only the image of strength is embodied in Matryona, she is also the very righteous man without whom the village cannot stand. But why do the fellow villagers not realize the righteousness of Matryona?

The system of images of the story "Matryonin Dvor" is built on the antithesis - naturalness, spiritual wealth of Matryona, her indifference to material wealth are opposed to the petty interests and poor mental organization of her fellow villagers. Matryona did not have a household, was not listed on a collective farm, did not receive a pension, but Matryona did not become embittered at the world, but continued to work and help everyone who needed her help. “Matryona never spared her labor or her goodness,” the author says about Matryona. She helped a neighbor dig up potatoes, although she was sick, she worked on a collective farm, although she was not even listed there.

The speech characteristic of Matryona creates the image of a sincere, good-natured, simple woman. Vernacular, inconsistent speech, a large number of repetitions in conversation - all this characterizes Matryona as a person who does everything from the heart, without making calculations in her head, how to show herself in the best light. Selflessness, modesty, kindness - those righteous character traits that distinguished her from everyone else, but which her relatives and neighbors did not want to notice. Why so?

I think the answer lies in the fact that Matryona's behavior was simply incomprehensible to them. Around her are petty, hypocritical, spiritually poor people, busy with their own worries and thinking only about themselves. How could the bright soul of Matryona be understood by her sisters, who, right at the funeral, artificially crying, divided Matryona's property? How could Fadey and his relatives because of their greed, who almost destroyed thousands of human lives that fateful night, could understand Matryona's selflessness and patience? How could that other Matryona, ritually weeping over the grave, understand the sincerity of the truth of Matryona? How could the state, which is trying to “hush up” the case and “blame everything on booze”, understand the justice of Matryona? How could her friend Masha, who on the very day of the funeral did not forget about the bundle promised to her, could understand Matryona's indifference to material wealth? All her surroundings are spiritually very poor and incapable of understanding the riches of her mother's soul.

Thus, the fellow villagers of Matryona did not understand that Matryona was the very righteous man without whom the village could not stand, due to his lack of spirituality. They took Matrena's actions for granted, as something taken for granted. I would like to express the hope that after the loss of Matryona, they realized her virtue, and realized that their village, like any other, really cannot stand without a righteous man, without their Matryona.

Analysis of the story by A.I. Solzhenitsyn "Matrenin Dvor"

AI Solzhenitsyn's view of the village in the 1950s and 1960s is distinguished by its harsh and cruel truth. Therefore, the editor of the journal Novy Mir, A.T. Tvardovsky, insisted on changing the time of the story Matrenin Dvor (1959) from 1956 to 1953. It was an editorial move in the hope of getting a new work by Solzhenitsyn to be published: the events in the story were transferred to the time before the Khrushchev thaw. The picture depicted leaves too painful an impression. “Leaves flew around, snow fell - and then melted. Plowed again, sowed again, reaped again. And again the leaves flew around, and again the snow fell. And one revolution. And another revolution. And the whole world turned upside down.

The story is usually based on a case that reveals the character of the protagonist. Solzhenitsyn builds his story on this traditional principle. Fate threw the hero-narrator to the station with a strange name for Russian places - Peat product. Here "dense, impenetrable forests stood before and overcame the revolution." But then they were cut down, brought to the root. In the village they no longer baked bread, did not sell anything edible - the table became scarce and poor. Collective farmers “down to the whitest flies, all to the collective farm, all to the collective farm,” and they had to collect hay for their cows already from under the snow.

The character of the main character of the story, Matryona, is revealed by the author through a tragic event - her death. Only after her death “was before me the image of Matryona, which I did not understand her, even living side by side with her.” Throughout the story, the author does not give a detailed, specific description of the heroine. Only one portrait detail is constantly emphasized by the author - Matryona's "radiant", "kind", "apologising" smile. But by the end of the story, the reader imagines the appearance of the heroine. The author's attitude to Matryona is felt in the tonality of the phrase, the selection of colors: "From the red frosty sun, the frozen window of the canopy, now shortened, filled with a little pink, and Matryona's face warmed this reflection." And then - a direct author's description: "Those people always have good faces, who are at odds with their conscience." I remember the smooth, melodious, primordially Russian speech of Matryona, beginning with "some kind of low warm murmur, like that of grandmothers in fairy tales."

The surrounding world of Matryona in her darkish hut with a large Russian stove is, as it were, a continuation of herself, a part of her life. Everything here is organic and natural: the cockroaches rustling behind the partition, the rustle of which resembled the “distant sound of the ocean”, and the shaggy cat, picked up by Matryona out of pity, and the mice that rushed behind the wallpaper on the tragic night of Matryona’s death, as if Matryona herself “invisibly rushed about and said goodbye here to her hut. Favorite ficuses "filled the loneliness of the hostess with a silent, but lively crowd." The same ficuses that Matryona once saved in a fire, not thinking about the meager acquired good. “Frightened by the crowd” ficuses froze that terrible night, and then they were forever taken out of the hut ...

The author-narrator unfolds the story of Matryona's life not immediately, but gradually. She had to sip a lot of grief and injustice in her lifetime: broken love, the death of six children, the loss of her husband in the war, hellish labor in the countryside, a severe illness, a bitter resentment against the collective farm, which squeezed all her strength out of her, and then wrote it off as unnecessary leaving without pension and support. In the fate of Matrena, the tragedy of a rural Russian woman is concentrated - the most expressive, blatant.

But she did not get angry at this world, she retained a good mood, a sense of joy and pity for others, her radiant smile still brightens her face. "She had a sure way to get her good spirits back - work." And in her old age, Matryona did not know rest: either she grabbed a shovel, or she went with a bag to the swamp to mow grass for her dirty-white goat, or she went with other women to steal peat for winter kindling secretly from the collective farm.

“Matryona was angry with someone invisible,” but she did not hold a grudge against the collective farm. Moreover, according to the very first decree, she went to help the collective farm, without receiving, as before, anything for her work. Yes, and she did not refuse to help any distant relative or neighbor, without a shadow of envy later telling the guest about the neighbor's rich potato harvest. Work was never a burden to her, "Matryona never spared her labor or her goodness." And shamelessly everyone around Matryona used unselfishness.

She lived in poverty, wretchedly, lonely - a "lost old woman", exhausted by work and illness. Relatives almost did not appear in her house, apparently fearing that Matryona would ask them for help. Everyone condemned her in unison, that she was funny and stupid, working for others for free, always climbing into men's affairs (after all, she got under the train, because she wanted to help the peasants to drag the sled through the crossing). True, after the death of Matryona, the sisters immediately flocked, “seized the hut, the goat and the stove, locked her chest with a lock, gutted two hundred funeral rubles from the lining of her coat.” Yes, and a half-century friend, "the only one who sincerely loved Matryona in this village," who came running in tears with the tragic news, nevertheless, leaving, took Matryona's knitted blouse with her so that the sisters would not get it. The sister-in-law, who recognized Matrona's simplicity and cordiality, spoke of this "with contemptuous regret." Mercilessly everyone used Matryona's kindness and innocence - and unanimously condemned for it.

The writer devotes a significant place in the story to the funeral scene. And this is no coincidence. For the last time, all relatives and friends gathered in Matryona's house, in whose environment she lived her life. And it turned out that Matryona was leaving life, never understood by anyone, not mourned by anyone in a human way. At the memorial dinner, they drank a lot, they said loudly, “It’s not about Matryona at all.” As usual, they sang "Eternal Memory", but "the voices were hoarse, different, drunken faces, and no one put feelings into this eternal memory."

The death of the heroine is the beginning of the decay, the death of the moral foundations that Matryona strengthened with her life. She was the only one in the village who lived in her own world: she arranged her life with work, honesty, kindness and patience, preserving her soul and inner freedom. In the popular way, wise, prudent, able to appreciate goodness and beauty, smiling and sociable by nature, Matryona managed to resist evil and violence, preserving her “yard”, her world, a special world of the righteous. But Matryona dies - and this world collapses: her house is pulled apart by a log, her modest belongings are greedily divided. And there is no one to protect Matryona's yard, no one even thinks that with the departure of Matryona, something very valuable and important, not amenable to division and primitive everyday assessment, passes away.

“We all lived next to her and did not understand that she is the same righteous man, without whom, according to the proverb, the village does not stand. Neither city. Not all of our land."

Bitter end of the story. The author admits that he, having become related to Matryona, does not pursue any selfish interests, nevertheless, he did not fully understand her. And only death revealed to him the majestic and tragic image of Matryona. The story is a kind of author's repentance, bitter remorse for the moral blindness of everyone around him, including himself. He bows his head before a man of a disinterested soul, absolutely unrequited, defenseless.

Despite the tragedy of events, the story is sustained on some very warm, bright, piercing note. It sets the reader up for good feelings and serious reflections.

The story "Matryonin's Dvor" was written by Solzhenitsyn in 1959. The first title of the story is "There is no village without a righteous man" (Russian proverb). The final version of the title was invented by Tvardovsky, who at that time was the editor of the Novy Mir magazine, where the story was published in No. 1 for 1963. At the insistence of the editors, the beginning of the story was changed and the events were attributed not to 1956, but to 1953, that is, to the pre-Khrushchev era. This is a nod to Khrushchev, thanks to whose permission Solzhenitsyn's first story, One Day in the Life of Ivan Denisovich (1962), was published.

The image of the narrator in the work "Matryonin Dvor" is autobiographical. After Stalin's death, Solzhenitsyn was rehabilitated, indeed he lived in the village of Miltsevo (Talnovo in the story) and rented a corner from Matryona Vasilievna Zakharova (Grigorieva in the story). Solzhenitsyn very accurately conveyed not only the details of the life of Marena's prototype, but also the features of life and even the local dialect of the village.

Literary direction and genre

Solzhenitsyn developed the Tolstoyan tradition of Russian prose in a realistic direction. The story combines the features of an artistic essay, the story itself and elements of life. The life of the Russian village is reflected so objectively and diversely that the work approaches the genre of "novel type story". In this genre, the character of the hero is shown not only at a turning point in his development, but also the history of the character, the stages of his formation are covered. The fate of the hero reflects the fate of the entire era and the country (as Solzhenitsyn says, the land).

Issues

Moral issues are at the center of the story. Are many human lives worth the occupied area or the decision dictated by human greed not to make a second trip by a tractor? Material values ​​among the people are valued higher than the person himself. Thaddeus lost his son and the once beloved woman, his son-in-law is threatened with prison, and his daughter is inconsolable. But the hero thinks about how to save the logs that the workers at the crossing did not have time to burn.

Mystical motifs are at the center of the problematic of the story. This is the motif of an unrecognized righteous man and the problem of cursing things that are touched by people with unclean hands pursuing selfish goals. So Thaddeus undertook to bring down Matryonin's room, thereby making her cursed.

Plot and composition

The story "Matryonin Dvor" has a time frame. In one paragraph, the author talks about how trains slow down at one of the crossings and 25 years after a certain event. That is, the frame refers to the beginning of the 80s, the rest of the story is an explanation of what happened at the crossing in 1956, the year of the Khrushchev thaw, when “something started to move”.

The hero-narrator finds the place of his teaching in an almost mystical way, having heard a special Russian dialect in the bazaar and settling in the "kondovoy Russia", in the village of Talnovo.

In the center of the plot is the life of Matryona. The narrator learns about her fate from herself (she tells how Thaddeus, who disappeared in the first war, wooed her, and how she married his brother, who disappeared in the second). But the hero finds out more about the silent Matryona from his own observations and from others.

The story describes in detail Matryona's hut, which stands in a picturesque place near the lake. The hut plays an important role in the life and death of Matryona. To understand the meaning of the story, you need to imagine a traditional Russian hut. Matrona's hut was divided into two halves: the actual residential hut with a Russian stove and the upper room (it was built for the eldest son to separate him when he marries). It is this chamber that Thaddeus disassembles in order to build a hut for Matryona's niece and his own daughter Kira. The hut in the story is animated. The wallpaper left behind the wall is called its inner skin.

Ficuses in tubs are also endowed with living features, reminding the narrator of a silent, but lively crowd.

The development of the action in the story is a static state of harmonious coexistence of the narrator and Matryona, who "do not find the meaning of everyday existence in food." The culmination of the story is the moment of the destruction of the chamber, and the work ends with the main idea and a bitter omen.

Heroes of the story

The hero-narrator, whom Matryona calls Ignatich, from the first lines makes it clear that he came from places of detention. He is looking for a job as a teacher in the wilderness, in the Russian outback. Only the third village satisfies him. Both the first and the second turn out to be corrupted by civilization. Solzhenitsyn makes it clear to the reader that he condemns the attitude of Soviet bureaucrats towards man. The narrator despises the authorities, who do not assign a pension to Matryona, forcing her to work on the collective farm for sticks, not only not giving peat for the furnace, but also forbidding anyone to ask about it. He instantly decides not to extradite Matryona, who brewed moonshine, hides her crime, for which she faces prison.

Having experienced and seen a lot, the narrator, embodying the author's point of view, acquires the right to judge everything that he observes in the village of Talnovo - a miniature embodiment of Russia.

Matryona is the main character of the story. The author says about her: “Those people have good faces who are at odds with their conscience.” At the moment of acquaintance, Matryona's face is yellow, and her eyes are clouded with illness.

To survive, Matryona grows small potatoes, secretly brings forbidden peat from the forest (up to 6 sacks a day) and secretly cuts hay for her goat.

There was no woman's curiosity in Matryona, she was delicate, did not annoy with questions. Today's Matryona is a lost old woman. The author knows about her that she got married before the revolution, that she had 6 children, but they all died quickly, "so two did not live at once." Matryona's husband did not return from the war, but went missing. The hero suspected that he had a new family somewhere abroad.

Matryona had a quality that distinguished her from the rest of the villagers: she selflessly helped everyone, even the collective farm, from which she was expelled due to illness. There is a lot of mysticism in her image. In her youth, she could lift sacks of any weight, stopped a galloping horse, foresaw her death, being afraid of locomotives. Another omen of her death is a pot of holy water that went missing on Epiphany.

Matryona's death seems to be an accident. But why on the night of her death, the mice rush about like crazy? The narrator suggests that it was 30 years later that the threat of Matryona's brother-in-law Thaddeus, who threatened to chop down Matryona and his own brother, who married her, struck.

After death, the holiness of Matryona is revealed. The mourners notice that she, completely crushed by the tractor, has only the right hand left to pray to God. And the narrator draws attention to her face, more alive than dead.

Fellow villagers speak of Matryona with disdain, not understanding her disinterestedness. The sister-in-law considers her unscrupulous, not careful, not inclined to accumulate good, Matryona did not seek her own benefit and helped others for free. Despised by fellow villagers was even Matryonina's cordiality and simplicity.

Only after her death did the narrator realize that Matryona, "not chasing after the factory", indifferent to food and clothing, is the foundation, the core of all of Russia. On such a righteous person stands a village, a city and a country ("all our land"). For the sake of one righteous man, as in the Bible, God can spare the earth, protect it from fire.

Artistic originality

Matryona appears before the hero as a fairy-tale creature, like Baba Yaga, who reluctantly gets off the stove to feed the prince who is passing by. She, like a fairy grandmother, has helper animals. Shortly before the death of Matryona, the rickety cat leaves the house, the mice, anticipating the death of the old woman, rustle especially. But cockroaches are indifferent to the fate of the hostess. Following Matryona, her favorite ficuses, similar to the crowd, die: they are of no practical value and are taken out into the cold after Matryona's death.

"School of the world around" - Salki sea battle tic-tac-toe. Test on the topic "At school". Read the question carefully. Key to answers. The world around 2nd grade. Instruction: 8. Where can you run, jump, somersault at school? Choose the geometric figure (or figures) that matches your answer. Russian language mathematics physics.

"The world around us at school" - Implementation of the principles of scientific, regional, local history, environmental, connection with life, seasonality. The modern paradigm of education: It is also necessary to take into account the possibility of applying and testing the acquired knowledge in practice. Philology Mathematics Nature, man, society Art and culture Health Technologies.

"Theme Environment" - Plants give off oxygen that the animal breathes. TOPIC: "The world through the eyes of an ecologist." We work, we rest. Animals. Inanimate. Alive. Nature. Ecological connections. Human. Plants. Lesson on the surrounding world Topic: "The world through the eyes of an ecologist." Many animals eat plants.

"Ambient light" - Light is of great importance for the development of life on Earth. The laws of nature are one. In sayings, proverbs, quotes. The wavelength is from 4 10-7 to 7.5 10-7 m. The rest mass of a photon is 0. Photoelectric effect Chemical action of light Photosynthesis Pressure of light. Abu Ali ibn Sina. The universe and light appeared as a result of the Big Bang.

"Program on the world around" - The purpose of studying the course "World around" in elementary school -. Circle "Young ecologist". Thematic planning. Subject "The world around". Implements the principles of the activity approach. Methods and techniques. A mechanism for evaluating their activities has been developed. Designing a single lesson. Calendar-thematic planning of the lessons of the world around.

"Games around the world" - Active use of role-playing games. Sun festival. Travel school. Obey the rules of the road. The content of the subject. The structure of the didactic game. Educational and methodical complex A.A. Pleshakov "The World Around". ABC of health. Didactic materials. In the land of fabulous animals.

1. We learn about Matryona Vasilievna from the story of the hero - the narrator, the only person who understood and accepted Matryona. The narrator is close to the author, but not equal to him. The author deliberately emphasizes this distancing from the hero-narrator, giving him a “first name - patronymic” Ignatich. What do we learn about him from the prologue?
2. Did Ignatich atone for his or others' sins?
3. How are the fates of the writer and the hero of the story similar?
4. Remember, under what circumstances does the first acquaintance of readers with Matryona take place?
5. Does Matryona want to get such a “profitable” guest? Support your answer with a quote from the text.
6. Why does the narrator choose to stay with her?
7. How is a typical day at Matryona?
8. What story did the author-narrator tell us about Matryona's “stab bait”?
9. Was Matryona angry at this world, so cruel to her? Support your answer with examples from the text.
10. What was her sure means of restoring her good humor?
11. How does Matryona feel about work?
12. How do people around her use her work?
13. How do the people around her feel about Matryona?
14. What role did they play in the fate of the main character?
15. Were there moments of joy in Matryona's life?
16. Solzhenitsyn divided his story into three parts. How can they be titled?
17. What typical phenomena of Russian reality does the author emphasize, revealing the life of the village in the 50s?
18. Did Matryona become embittered or did she find another means of survival?
19. Why did Matryona have to steal?
20. How did Matryona develop relations with the authorities?
21. How did the village women resist the authorities in the struggle for survival?
22. What did the authorities do when they saw the exhausting work of women?
23. Were the authorities able to organize people for useful and highly paid work?
24. What is the relationship between Matryona and the narrator?
25. What destroys this silence, the habitual foundation of their relationship?
26. Give a description of the appearance of Thaddeus. What does she say about his character?
27. Did Thaddeus, who returned from Hungarian captivity, understand the sacrifice of Matryona?
28. What else does the author say about Thaddeus?
29. How to explain the difference between the dissimilar souls of Matryona and Thaddeus?
30. What is the author focusing on? What "speaking" epithet characterizes this hero?
31. Is the author right when he says: “Thaddeus’s threat lay in the corner for forty years ... but it still hit”? What kind of

threat?

1. What was the turning point in Matrona's life? Why?
2. Why does Matryona marry Yefim?
3. Do you tend to condemn or justify Matryona in this situation?
4. What changed Matryona's usual way of life?
5. Why is it hard for Matryona to decide to give her pupil the bequeathed room during her lifetime?
6. Why “does she not sleep for two nights” thinking about the upper room? Does she feel sorry for the upper room? Confirm your answer

quote from the text.

1. Why does the reader believe her?
2. Why does he feel that events will indeed end tragically?
3. Where has the author already managed to prepare us for just such a finale?
4. Try to look for these author's "footboards" substituted for the reader.
5. Why does Matryona rush after the sleigh?
6. How does the author show us anxiety for Matryona, the feeling that trouble will happen?
7. What did our friend Masha tell us about the last minutes of Matrona's life, about the tragedy at the crossing?
8. Follow the behavior of the people gathered at Matryona's funeral. Describe them.
9. Which of them sincerely experiences the death of Matryona, the bitterness of her loss?
10. The author admits that he, who was related to Matryona, does not have any selfish interests.

the persecutor, however, did not fully understand her. And only death revealed to him

majestic and tragic image of Matryona. What is it?

1. What words from the text can be taken as an epigraph to the image of Matryona? What is the tragedy of her fate?
2. Why does Matryona tell Ignatich about her life?
3. Can Matrena Vasilievna be called beautiful? What is this beauty?
4. Who is to blame for the death of Matryona: people, events, fate?
5. The first version of the title of the story "A village is not worth without a righteous man." Reveal his philosophical

meaning.

1. How to interpret the meaning of the initial title of the story?
2. Has the meaning of the title of the story under the second heading changed? How?
3. How do you understand the final words of the piece? Do you agree with them?
4. What is the meaning of the word "righteous"?
5. What do you think is the meaning of the title of the story “Matryona Dvor”?
6. With the death of Matryona, does this world collapse?
7. Who will be able to protect Matrenin Dvor?
8. This question is difficult, it once again brings us back to rethinking the conversation about the meaning of life. What is it, based on the story of A.I. Solzhenitsyn?
9. Do you think such righteous people are needed in our lives? Why? For what?
10. Is righteousness possible in our lives and do you know people who can be called

the righteous?

1. Which writer has touched on this issue? What is their understanding of righteousness?
2. What other problems did you see in this story?
3. Are there any moments in the work that shocked you?
4. How does Solzhenitsyn understand the Russian character?
5. What other ideas about the Russian folk character are stated in the story?
6. Is it possible to say that the story of A.I. Solzhenitsyn “Matryonin Dvor” connects some motives

previous literature with subsequent motifs of modern literary works? Give examples.