The originality of the embodiment of the national character in the stories of Shukshin. List of used literature

Shukshin's stories were a string of life episodes, dramatized scenes, outwardly reminiscent of early Chekhov's stories with their not strained, brevity ("shorter than a sparrow's nose"), the element of good-natured laughter. The characters of Shukshin were the inhabitants of the rural periphery, the humble, who did not break out "into the people" - in a word, those who outwardly, in their position, fully corresponded to the type familiar from the literature of the 19th century " little man».

However, each character in the image of Shukshin had his own "zest", resisted averaging, showed special image existence or turned out to be obsessed with one or another unusual idea. Here is how the critic Igor Dedkov would later write about it: “Human diversity, living wealth life is expressed for V. Shukshin, first of all, in a variety of ways to live, ways to feel, ways to defend one's dignity and one's rights. The uniqueness of the answer, the uniqueness of a person's reaction to the call and the challenge of circumstances seem to the writer to be the first value of life, of course, with the amendment that this uniqueness is not immoral.

Shukshin created a whole gallery of memorable characters, united in that they all demonstrate different facets of the Russian national character. This character manifests itself in Shukshin most often in a situation of dramatic conflict with life circumstances. Shukshin's hero, who lives in the countryside and is busy with his usual, village-style, monotonous work, cannot and does not want to dissolve into rural life "without a trace". He passionately wants to get away from everyday life at least for a while, his soul yearns for a holiday, and his restless mind seeks the “higher” truth. It is easy to see that with the outward dissimilarity of Shukshin's "freaks" to the "high" heroes-intellectuals of Russian classics, they, Shukshin's "village residents", also do not want to limit life to the "home circle", they are also tormented by the dream of a bright life full of meaning. . And therefore they are drawn outside their native outskirts, their imagination is occupied with problems that are by no means of a regional scale (the hero of the story "Microscope" acquires an expensive item in the hope of finding a way to fight microbes; the character of the story "Stubborn" builds his "perpetuum mobile").

The collision characteristic of Shukshin's stories - the clash of "urban" and "village" - not only reveals social contradictions, how much reveals the conflicting relationship of dreams and reality in the life of the "little man". The study of these relations is the content of many of the writer's works.
The Russian person in Shukshin's image is a searching person, asking life unexpected, strange questions, loving to be surprised and surprised. He does not like hierarchy - that conditional worldly "table of ranks", according to which there are "famous" heroes and there are "modest" workers. Opposing this hierarchy, Shukshin's hero can be touchingly naive, as in the story "Freak", an incredible inventor, as in "Mil pardon, madam!", Or an aggressive debater, as in the story "Cut off". Such qualities as obedience and humility are rarely present in Shukshin's characters. Rather, on the contrary: they are characterized by stubbornness, self-will, dislike for insipid existence, resistance to distilled sanity. They cannot live without "leaning out".

“Cut off” is one of the brightest and deepest stories of Shukshin. The central character of the story, Gleb Kapustin, has a “fiery passion” - to “cut off”, “settle down” people from the village who have achieved success in life in the city. From the prehistory of Gleb's confrontation with the "candidate" it turns out that a colonel who came to the village on a visit was recently defeated, who was unable to remember the name of the Governor-General of Moscow in 1812. This time Kapustin's victim is a philologist, deceived by the outward absurdity of Gleb's questions, unable to understand the meaning of what is happening. At first, Kapustin's questions seem ridiculous to the guest, but soon all the comedy disappears: for the candidate, this is a real test, and later the clash develops into a verbal duel. In the story, the words “laughed”, “grinned”, “laughed” are often found. However, the laughter in the story has little in common with humor: either it expresses the indulgence of a city dweller to the “oddities” of countrymen living in the village, or it becomes a manifestation of aggressiveness, reveals revenge, a thirst for social revenge, which owns Gleb’s mind.

The debaters belong to different cultural worlds, different levels social hierarchy. Depending on personal preferences and social experience, readers can read the story either as an everyday parable about how a “smart man” outwitted a “learned master”, or as a sketch about “ cruel morals» village dwellers. In other words, he can either take the side of Gleb, or sympathize with the innocent Konstantin Ivanovich.

However, the author does not share either one or the other position. He doesn't justify the characters, but he doesn't condemn them either. He only superficially indifferently notices the circumstances of their confrontation. So, for example, already in the exposition of the story, ridiculous gifts brought by guests to the village are reported: “an electric samovar, a colorful dressing gown and wooden spoons.” It was also noticed how Konstantin Ivanovich “drove in a taxi”, and how he recalled his childhood with a deliberate “sadness” in his voice, inviting the peasants to the table. On the other hand, we learn about how Gleb “squinted his eyes vindictively”, as if “an experienced fist fighter”, went to the Zhuravlevs’ house (“somewhat ahead of the rest, hands in pockets”), how he, “it was clear - he was getting to jump."

Only in the finale does the author tell us about the feelings of the men who were present at the verbal duel: “Gleb ... still invariably surprised them. Even admired. Though love, let's say, was not there. No, there was no love. Gleb is cruel, and no one, ever, anywhere has ever loved cruelty.” And so the story ends: not with moralizing, but with regret about the lack of tact and sympathetic attention of people to each other, about a meeting that turned into a break. The “simple” person in the image of Shukshin turns out to be completely “difficult”, and country life- internally conflicting, serious passions concealed behind everyday maeta.

Brief biographical information

V.M. Shukshin was born on July 25, 1929 in the village of Srostki Altai Territory in a peasant family. There he spent his military childhood. From the age of 16 he has been working in his native collective farm, then in production. In 1946 he went to the cities of Kaluga and Vladimir, where he worked as anyone - a loader, a locksmith. During one of his trips to Moscow, he meets the film director I. Pyryev. At the same time, his first literary experiments fall. In 1949, Shukshin was drafted into the fleet, from where he was later demobilized due to illness. He returns to his native Srostki, where he works as a teacher, then director of an evening school.

In 1954, at the age of 25, he entered the Institute of Cinematography (VGIK) in Moscow for the same course with Andrei Tarkovsky in the director's workshop of M.I. Romm. In 1958 Shukshin acted in films for the first time. In the same year, his first publication appeared - the story "Two on a Cart" was published in the magazine "Change". In the early 1960s Shukshin acts in films a lot. At the same time, hard work is underway on the stories that are increasingly appearing on the pages of the capital's magazines. The first collection of short stories “Village Residents” (1963) is also out of print. In 1964, Shukshin shoots his first full-length Feature Film“Such a Guy Lives”, awarded prizes at the Moscow and Venice International Film Festivals.

For a decade and a half literary activity Shukshin wrote five stories (“There, in the distance”, “And in the morning they woke up”, “Point of View”, 1974; “Kalina Krasnaya”, 1973-1974;

“Until the third roosters”, 1975), two historical novels (“Lubavins”, 1965; “I came to give you freedom”, 1971), the play “Energetic people” (1974), four original screenplays (“Such a guy lives”, “ Stoves-benches”, “Call me into the bright distance”, “My brother”), about a hundred stories (collections “Characters”, “Countrymen”) and journalistic articles, of which the most famous are “Question to myself”, “Monologue on stairs”, “Morality is truth”.

The latest story and last film Shukshina became "Kalina Krasnaya" (1974). He died on October 2, 1974 during the filming of S. Bondarchuk's film "They Fought for the Motherland". He was buried in Moscow at the Novodevichy Cemetery.

Foreword

The study of V. Shukshin's work is a difficult task. The art of V. Shukshin - writer, actor, screenwriter - constantly gives rise to disputes, scientific discussions that are far from over.

Time makes its own amendments, requiring clarification of existing opinions, their addition or revision. And the point is not only in critical search, in the dynamics of outlook and change of concept. These discussions introduce us to a circle of important theoretical problems, the solution of which requires a thorough study of the entire content of V. Shukshin's work (the concept of the people and the individual, the hero, the aesthetic ideal, issues of genre and style).

There are disagreements in understanding the nature of V. Shukshin's talent and related principles of analysis, evaluation criteria. True art always resists schemes, straightforwardness of judgments, ignoring its originality. The work of V. Shukshin resisted any attempts to destroy its integrity and multi-genre unity.

The wide interest of readers and viewers in the work of V. Shukshin does not weaken today.

In the 1960s, when the first works of the writer appeared in literary periodicals, the critics hastened to rank him among the group of “village” writers. There were reasons for this:

Shukshin really preferred to write about the village, the first collection of his stories was called “Village Residents”. However, ethnographic rural life, the appearance of the people of the village, landscape sketches did not particularly interest the writer - if all this was discussed in the stories, then only in passing, fluently, in passing. There was almost no poeticization of nature in them, authorial thoughtful digressions, admiring the "mode" of folk life - all that readers are used to finding in the works of V.I. Belov, V.P. Astafiev, V.G. Rasputin, E.I. Nosov.

The writer focused on something else: his stories were a string of life episodes, dramatized scenes, outwardly reminiscent of early Chekhov's stories with their not strained, brevity (“shorter than a sparrow's nose”), the element of good-natured laughter. The characters of Shukshin were the inhabitants of the rural periphery, the ignoble, who did not break out “into the people”, - in a word, those who outwardly, in their position, fully corresponded to the type of “little man” familiar from the literature of the 19th century.

However, each character in the image of Shukshin had his own “zest”, resisted averaging, showed a special way of existence, or turned out to be obsessed with one or another unusual idea. Here is how the critic Igor Dedkov later wrote about this: “Human diversity, the living wealth of being, is expressed for V. Shukshin, first of all, in the variety of ways to live, ways to feel, ways to defend one's dignity and rights. The uniqueness of the answer, the uniqueness of a person's reaction to the call and the challenge of circumstances seem to the writer to be the first value of life, of course, with the amendment that this uniqueness is not immoral.

Shukshin created a whole gallery of memorable characters, united in that they all demonstrate different facets of the Russian national character. This character manifests itself in Shukshin most often in a situation of dramatic conflict with life circumstances. Shukshin's hero, who lives in the countryside and is busy with his usual, village-style, monotonous work, cannot and does not want to dissolve into rural life “without a trace”. He passionately wants to get away from everyday life at least for a while, his soul yearns for a holiday, and his restless mind seeks the “higher” truth. It is easy to see that with the outward dissimilarity of Shukshin's "freaks" to the "high" heroes-intellectuals of Russian classics, they, Shukshin's "village residents", also do not want to limit life to the "home circle", they are also tormented by the dream of a bright life full of meaning. . And therefore they are drawn outside their native outskirts, their imagination is occupied with problems that are by no means of a regional scale (the hero of the story “Microscope” acquires an expensive item in the hope of finding a way to fight microbes; the character of the story “Persistent” builds his own “perpetuum mobile”).

The collision characteristic of Shukshin's stories - the clash of "urban" and "village" - not so much reveals social contradictions as it reveals conflicting relations between dreams and reality in the life of a "little man". The study of these relations is the content of many of the writer's works.

The Russian person in Shukshin's image is a searching person, asking life unexpected, strange questions, loving to be surprised and surprised. He does not like hierarchy - that conventional worldly "table of ranks", according to which there are "famous" heroes and there are "modest" workers. Opposing this hierarchy, Shukshin's hero can be touchingly naive, as in the story "Freak", an incredible inventor, as in "Mil pardon, madam!", Or an aggressive debater, as in the story "Cut off". Such qualities as obedience and humility are rarely present in Shukshin's characters. Rather, on the contrary: they are characterized by stubbornness, self-will, dislike for insipid existence, resistance to distilled sanity. They cannot live without "leaning out".

“Cut off” is one of the brightest and deepest stories of Shukshin. The central character of the story, Gleb Kapustin, has a “fiery passion” - to “cut off”, “settle down” people from the village who have achieved success in life in the city. From the prehistory of Gleb's confrontation with the "candidate" it turns out that a colonel who came to the village on a visit was recently defeated, who was unable to remember the name of the Governor-General of Moscow in 1812. This time Kapustin's victim is a philologist, deceived by the outward absurdity of Gleb's questions, unable to understand the meaning of what is happening. At first, Kapustin's questions seem ridiculous to the guest, but soon all the comedy disappears: for the candidate, this is a real test, and later the clash develops into a verbal duel. In the story, the words “laughed”, “grinned”, “laughed” are often found. However, the laughter in the story has little in common with humor: either it expresses the indulgence of a city dweller to the “oddities” of countrymen living in the village, or it becomes a manifestation of aggressiveness, reveals revenge, a thirst for social revenge, which owns Gleb’s mind.

Disputants belong to different cultural worlds, different levels of social hierarchy. Depending on personal preferences and social experience, readers can read the story either as an everyday parable about how a “smart man” outwitted a “learned gentleman”, or as a sketch about the “cruel morals” of the inhabitants of the village. In other words, he can either take the side of Gleb, or sympathize with the innocent Konstantin Ivanovich.

However, the author does not share either one or the other position. He doesn't justify the characters, but he doesn't condemn them either. He only superficially indifferently notices the circumstances of their confrontation. So, for example, already in the exposition of the story, ridiculous gifts brought by guests to the village are reported: “an electric samovar, a colorful dressing gown and wooden spoons.” It was also noticed how Konstantin Ivanovich “drove in a taxi”, and how he recalled his childhood with a deliberate “sadness” in his voice, inviting the peasants to the table. On the other hand, we learn about how Gleb “squinted his eyes vindictively”, as if “an experienced fist fighter”, went to the Zhuravlevs’ house (“somewhat ahead of the rest, hands in pockets”), how he, “it was clear - he was getting to the jump."

Only in the finale does the author tell us about the feelings of the men who were present at the verbal duel: “Gleb ... continued to surprise them invariably. Even admired. Though love, let's say, was not there. No, there was no love. Gleb is cruel, and no one, ever, anywhere has ever loved cruelty.” And so the story ends: not with moralizing, but with regret about the lack of tact and sympathetic attention of people to each other, about a meeting that turned into a break. The “simple” person in the image of Shukshin turns out to be completely “difficult”, and village life - internally conflicting, lurking serious passions behind everyday mata.

The high impulses of Shukshin's heroes, alas, are not given to be realized in life, and this gives the reproduced situations a tragicomic tone. However, neither anecdotal incidents nor the eccentric behavior of the characters prevent the writer from seeing the main thing in them - the people's thirst for justice, concern for human dignity, craving for a life filled with meaning. Shukshin's hero often does not know where to put himself, how and what to use his own spiritual "breadth", he toils from his own uselessness and stupidity, he is ashamed when he causes inconvenience to loved ones. But this is precisely what makes the characters' characters alive and eliminates the distance between the reader and the character: Shukshin's hero is unmistakably guessed as a person of “his own”, “ours”.

In the works of Shukshin, the figure of the narrator is important. He himself and those he talks about are people of common experience, general biography and common language. That is why the author's pathos, the tone of his attitude to the depicted are far from both sentimental sympathy and frank admiration. The author does not idealize his heroes just because they are “his own”, rural ones. The attitude to what is depicted in Shukshin's stories is manifested in Chekhov's restraint. None of the characters have the full possession of the truth, and the author does not seek a moral judgment on them. Another thing is more important for him - to identify the reasons for not recognizing one person by another, the reasons for mutual misunderstanding between people.

In form, Shukshin's stories are distinguished by their scenography: as a rule, this is a small scene, an episode from life, but one in which the ordinary is combined with the eccentric and in which the fate of a person is revealed. A constant plot situation is the situation of a meeting (real or failed). There is no external plan in the unfolding plot: stories often gravitate towards the form of a fragment - without a beginning, without an end, with unfinished constructions. The writer has repeatedly spoken about his dislike for a closed plot. The composition of the plot is subject to the logic of conversation or oral narration, and therefore allows for unexpected deviations and “excessive” clarifications and details.

Shukshin rarely gives any detailed landscape descriptions and portrait characteristics of the characters.

The boundary between the “author's word” and the “hero's word” is in most cases blurred or completely absent. The bright side of Shukshin's individual style is living wealth colloquial speech with its diverse individual and social undertones. Shukshin's heroes are debaters, experienced talkers who own many intonations, who know how to insert a saying to the place, flaunt a “learned” word, or even swear furiously. Their language is a conglomeration of newspaper stamps, colloquial expressions and interspersed with urban jargon. Frequent interjections in their speech, rhetorical questions and exclamations give the conversation an increased emotionality. It is the language that is the main means of creating the characters of Gleb Kapustin and Bronka Pupkov.

Shukshin's work

Speaking of Shukshin, it is somehow even embarrassing to mention his organic connection with the people of Russia. Why, he himself is this working people who have entered a new path of life and fully creatively realized themselves, their being. Deeply aware.

Uncompromising, angry, furious denunciation of what interferes with good and light, and joyful acceptance, reciprocal radiance towards what was affirmed correctly and well - such was Shukshin in his work. His own spiritual development, personal growth are inseparable from ever deeper comprehension of talent - acting roles, directing and writing, purely literary work. All together it was a holistic continuous process. I propose to decompose this process into “components” convenient for consideration, if we want to comprehend the secret of the vitality of his talent, after all, it is impossible.

The artist himself, shortly before his death, as you know, even seemed to be inclined to reconsider a lot in his creative coexistence in order to finally choose one thing for himself.

Sholokhov and Bondarchuk suggested this orientation to maturity, not to complete the search, when the artist, creating the image of the soldier Lopakhin in the film “They Fought for the Motherland”, got the opportunity to fully comprehend and express one more and, perhaps, the most precious folk in it for everyone. quality is the purest, unalloyed and extremely modest heroism of today's man. The heroic character of a human fighter, who today recognizes himself as a thinking, active, active part of the people, part of the Motherland, and therefore goes to a feat, to fight for it consciously, to his full height.

The last role in cinema and in life - Lopakhin - marked a new enormous height of artistic, writer's responsibility, when Shukshin suddenly felt the need for a decisive, final choice between literature only - and only cinema. But was it possible at all?.. After all, hitherto both of these talents were by no means separated in his creative being as an artist: on the contrary, they existed precisely as a whole. Shukshin, having barely come into art, always expressed himself in it monolithically: he did not “write” and did not “play” his heroes, he lived their life, carried them in his soul, in his very being even before they came to life on pages of his scripts or appeared on the screen.

It was cinema that brought Shukshin to literature. He graduated from the Institute of Cinematography and became a director. But even then the writer was revealed in him. Moreover, the writer-playwright, the writer-screenwriter, even in prose, in the novelist remains a playwright. A writer with his own voice, his dynamics, his own theme, developed by him, albeit intuitively at first, but again with the same rare unity and integrity of nature that has passed through all obstacles. Through the difficult overcoming of fate, which declared itself unusual, spiritual and moral scale of talent, a sharply expressed social nature. His modernity.

In all the universally recognized successes of Shukshin, the individuality of the artist, all his inherent features, were fully expressed, first of all, in his ideological, civic power. For Shukshin, the power of his influence on us is, first of all, in the deep moral content of creativity, in its educative meaning. From these positions, the writer speaks of both the past and the present. For him, it is precisely for this that the spiritual wealth that is left to us by grandfathers and great-grandfathers, and then our fathers and mothers, is dear. Shukshin demands to understand, protect and preserve the shrines of people's life, not making them an idol, but turning them into a movable, daily human, moral capital that requires increment and multiplication. Betraying them, forgetting these values ​​is sacrilege. Even bitterly, repentantly subsequently realized, it will still turn into an inevitable black disaster for Yegor Prokudin ...

Shukshin, like Kuprin, Chekhov, Gorky, Yesenin, Chaliapin, went into literature and art from the very "bottom" of the people, from the Russian "outback". Came with their own "universities". With that thorough, irreplaceable, practical, working, working knowledge of life, which people receive not from books, but from experience, sometimes even today it is still quite difficult, and even at the time of Shukshin’s childhood, especially difficult and bitter. But it's always the universities. Always without quotes, understood as a school of perseverance and diligence, and most importantly, as a school that teaches the knowledge of life itself. It is known that there is nothing more important than this knowledge, and for an artist it cannot be.

When Shukshin is compared with best writers Russia, there is not the slightest exaggeration here. These comparisons are fair: they are based on undoubted nationality, the sincerity of talent. But it is also very important that Shukshin has his own. Shukshin is not like Kuprin, Chekhov or Gogol - and not like anyone else. And his language is not Bunin's, not Sholokhov's, not Lesk's... And although everywhere the possibility of an analogy - even latent - is very tempting, in this case, however, you should not succumb to it. The mutual sympathy of Sholokhov and Shukshin was undoubtedly generated by their common centripetal force - an unbiased appeal to the soul of the people, to the image of the Russian working man, in which lies the eternal miracle of life, its eternal fire.

Indeed. Shukshin in everything, no matter what he undertook, was a unique artist, a genuine artist.

All screenplays were written by Shukshin in the same way as Dovzhenko wrote them, by the hand of a great and mature playwright. Although, at the same time, these scripts still remain the unconditional property of prose. And if “Kalina Krasnaya” can be considered a kind of movie story, then both the novel and the script, or rather, the movie novel, or the movie poem about Razin “I came to give you freedom”, undoubtedly, should also be attributed to those best and rare works of Russian (and not only Russian) epic, large-scale prose, where the story itself, not having time to come to life on the screen, was already filled with a lively, beautiful, imaginative life of the characters. Shukshin himself wanted to play and would play Stepan Razin. So powerful is his acting gift. But he was more than an actor, because he was also a wonderful director. And here he managed to get out of the "out of the ordinary"

So it turns out: no matter how you look for comparisons - there are none. Shukshin did not "resemble", of course, the plays of Shakespeare and Molière who wrote and played the swap; but even this flattering “resemblance” seems to be of no use to him either. He is Shukshin. That says it all. He is on his own. He was - and remains - amazing phenomenon our life.

It is as if life itself becomes a hegemon, a form-forming principle in all this magnificent diverse creativity that conquers us with a sense of not “similarity”, but essence. Truth. Truth. Her genuine living harmony.

Needless to say, this creativity always has a form. And what a! It does not shine with “skill”, pseudo-modernity - that ostentatious gloss, external grace, virtuosity, in which there is always latent admiration for oneself, one's skill, one's talent (if only it exists). Shukshin writes as naturally as his people speak and think. He plays the role swap as simply as he exists: without effort, without make-up, without the slightest desire to be seen, heard, remaining as if within the limits of a sense of his own, personal, spiritual being. Such is always the highest level of mastery, that stage of art where it, this art, seems to be already disappearing, as if it even ceases to exist. Before us remains visible to the eye, and even more - a feeling, a primeval miracle of life. A simple miracle. Some, as if by itself creating, life-giving source of life.

Artistic world of Shukshin

The earth is a concrete and poetically ambiguous image in the works of V. Shukshin. Home and native village, arable land, steppe, mother earth... Folk-shaped perceptions and associations introduce us to a system of lofty and complex, historical and philosophical concepts: about the infinity of life and the chain of generations fading into the past, about the Motherland, about the inexplicably attractive power of the earth. This comprehensive image naturally becomes the center of the content of Shukshin's work: figurative system, main collisions, artistic concepts, moral and aesthetic ideals and poetics.

Did Shukshin write to the Lyubavins, gloomy and cruel owners, the freedom-loving rebel Stepan Razin, did he talk about the breakup of village families, about the inevitable departure of a person, his farewell to everything earthly, did he make films about Pashka Kolokolnikov, Ivan Rastorguev, the Gromov brothers, Egor Prokudin, the writer depicted heroes against the background of concrete and generalized images of a river, a road, an endless expanse of arable land, why houses, unknown graves. Shukshin fills this central image comprehensive content, solving the cardinal problem: what is Man, what is the essence of his being on Earth? In a strong knot of problems, questions of historical and philosophical, universal and specific - of the general people's and personal life, were united.

Earthly attraction, attraction to the earth is the strongest feeling of a person, especially a peasant farmer. The figurative idea of ​​the greatness and power of the earth, the source of life, the keeper of time and bygone generations, born together with man, was renewed in the art of V. Shukshin, gaining ambiguity. Reflecting on the fate of the peasantry, thinking about its past and present, V. Shukshin invariably returned to the land: the traditions, moral concepts, beliefs that a farmer developed in labor, centuries of experience and the peasant's concern for daily bread. But Shukshin's land is a historical image. Its fate and the fate of people are one, and it is impossible to break these eternal ties without tragically irreversible catastrophes and disastrous consequences. The people, having made a revolution, built a new life, they liberated their homeland from the invaders in terrible years Great Patriotic War, gave all his strength to the revival, renewal and flourishing of life. The earth and people today, their being, their future destinies - that's what worries the writer, attracts his attention. Today's destinies are a continuation of the links of the historical chain of generations. Are these links strong and how are they soldered? Shukshin reflects. The necessity, the urgency of these ties is beyond doubt. tracing life path fathers and children, representing different generations and the epochs behind them, Shukshin seeks to reveal their spiritual world, joys and cares, the meaning of being, in the name of which life has been lived.

Matvey Ryazantsev wakes up every night, anxiously listening to the voices of the accordion. They touch his soul, stir up memories from distant childhood, squeezing his heart. He, then a boy, was sent from the field to the village for milk in order to save his dying little brother. “The horse and the man merged together and flew into the black night. And the night flew towards them, thickly hitting their faces with the heavy smell of herbs, damp under the dew. Some kind of wild delight seized the boy; blood rushed to the head and buzzed. It was like flying - as if he had taken off the ground and flew. And nothing is visible around: neither the earth, nor the sky, even a horse's head - only noise in the ears, only the huge night world moved and rushed towards. I didn’t think at all then that my brother was bad there. And I didn't think about anything. The soul rejoiced, every vein played in the body ... Some kind of desired, rare moment of unbearable joy.

The search for answers to eternal questions about the meaning of life and the continuity of generations requires the writer to analyze feelings. Love, friendship, filial and paternal feelings, motherhood in the infinity of patience and kindness - through them a person is known, and through him - time and the essence of being. The ways of the writer's comprehension of being lead him to the knowledge of the depths of the human soul. And this is the key to solving both ancient and new mysteries of life. Recognizing the heroes dear to Shukshin, you are convinced of one thing: above all, the most beautiful and deeper are the experiences that a person experiences, joining nature, comprehending the eternal power and charm of the earth, infinity human life(“Strait”, “I believe!”, “And the horses played out in the field”, “Alyosha Beskonvoyny”)

The “most modern” in art and literature seem to me to be the eternal efforts of artists who devote themselves to the study of the human soul. It is always noble, always difficult,” said Shukshin. Most often, the writer leaves his heroes face to face with the memory of those strongest experiences in which the soul came to life, the memory of which people carried through their whole lives. Facets are clearly revealed, as if dividing fathers and children: their worldview, feelings and attitude to the earth are different. The writer tactfully, objectively speaks about the difference in the spiritual make-up of generations as a given, a natural phenomenon.

It is quite natural that in the center of the poetic row people - the earth, the image of the mother is highlighted, with her patience, kindness, generosity, pity. How ambiguous, rich in colors, symbolic, but always natural is this character beloved by the writer! Poeticizing a simple village mother, Shukshin portrays her as the guardian of the house, land, eternal family foundations and traditions. In the old mother-worker, Shukshin sees a true support for a person in the vicissitudes of fate, for the writer she is the embodiment of hope, wisdom, kindness and mercy.

However, the mother - the keeper of the empty house, which, for one reason or another, the children left forever - the situation is dramatic. And this drama is multi-valued, cyclical in content: fathers and mothers suffer, and children who have chosen their own path in life also suffer. Peering into social, family and everyday situations (rural and urban), analyzing their “beginnings” and “ends”, Shukshin convinced us of the complexity, inexhaustibility of the dramas of life. Even if the choice of the hero was tragic, the endings remained open, turning their new “beginnings” to the reader and the viewer (“Villagers”, “One”, “In profile and full face”, “Husband’s wife saw off to Paris”, “Letter”, “How the Old Man Died”, “Shameless”, “Countrymen”, “In Autumn”, “Mother's Heart”, “Strait”, “Kalina Krasnaya”, etc.).

For many young heroes, the village is a fading world. Home, land, work on earth, as it were, belong only to memory, looming in romantic colors. Minka Lyutaev is studying in Moscow as an artist. The arrival of his father from the Altai collective farm and his stories awaken memories of the village in the young man. They pass before the hero like beautiful dreams of childhood: “He saw how far, far away, in the steppe, his shaggy mane tousled in the wind, a half-wild handsome horse rushes in a jamb. And the dawn in the west is half the sky, like a burning straw fire, and they draw it - in circles, in circles - black swift shadows, and the clatter of horses is not heard - quietly ”(“ And the horses played out in the field ”). The paintings are stable, traditional, reminiscent of a fresco. That is why it seems to Minka that “the clatter is not heard” ...

Locksmith Ivan, whose soul is full of a vague desire for life changes, sees the village and his home in a different way: accurately, realistically, without romantic coloring, without experiencing unrest even on the eve of his departure to the city. “Mother was heating the stove; again it smelled of smoke, but it was a different smell - woody, dry, morning. When mother went out into the street and opened the door, there was a breath of freshness from the street, that freshness that comes from puddles covered with ice as light as glass ... ”(“ In profile and full face ”). Ivan, leaving his mother, the usual circle of life, perhaps suffers from his own determination. In the film story "My Brother ..." Shukshin showed how, due to different living conditions, the estrangement of the brothers is growing. Ivan settled in the city against the will of his father, who bequeathed to his sons to protect the land. Semyon, faithful to his father's covenant and his duty, remains in the village, although his life is not easy. Ivan dreams of his native village all the time, giving rise to vague excitement. However, in reality, the village does not excite him and does not please him: the parental hut “... darkened, slightly sat down on one corner ... As if grief crushed her too. Two small windows looked mournfully into the street... The one who once cut it down left it forever.”

The inevitability of the separation of fathers and children in the countryside is socially and historically conditioned: technical progress, urbanization, the influence of the city, the further transformation of the countryside and the inevitable difference in psychological make-up different generations. However, Shukshin is concerned about the moral content of the current process, its consequences. It may seem to the reader and viewer that the difference in the characters of the Gromov brothers was predetermined different conditions life. Meanwhile, such a delusion is easily dispelled: Semyon is kind, simple-hearted, warm-hearted, disinterested, not because he is a villager. He could have remained true to his nature even in the city, as, indeed, Ivan, having moved to the village, could have remained his own - resolute, firm, selfish and uncompromising. The point is in the very fact of the natural disintegration of the Gromov family, the alienation of the brothers, whose life paths completely diverged: apparently, there is little that connects them. V. Shukshin, peering into social and family situations (urban or rural), depicts the deep drama of modern family stories.

Shukshin writes social drama during all the years of work. From the first observations, which, accumulating, became the basis of deep reflections and generalizations, this drama, breaking up into dozens of new conflicts, absorbed more and more vital material. Its content is infinitely varied. The drama reveals the differences between fathers and children: different life positions and views are opposed. This shocked and excited world fits in, but it is difficult, painful, implicitly striving for harmony, not always finding it.

The creative forces are active, their role is quite obvious in social dramas V. Shukshin. These forces are revealed in the substance of the people - in its healthy moral and ethical principle, which is most of all expressed in labor traditions, in collectivism, in involvement in common cause and, finally, in the creative possibilities of the people. The desire for harmony forms a powerful, deep current, which, opposing discord, various social and family conflicts, has creative possibilities.

In the progressive development of life, the process of formation and approval of the transformable by man is steadily going on. social relations. However, not on empty place. On the soil prepared by fathers, the experience of older generations, and subject to the careful attitude of children to moral and labor traditions, to work in general, so that a person “... does not lose anything ... dear, what he gained from traditional education, what he managed to understand that he managed to fall in love; I would not lose my love for nature ... ”- as Shukshin said. The good will of a person, his reasonable intervention in the current process is fruitful: in the ability of a person to overcome callousness, passivity, consumer egoism.

The social dramas of V. Shukshin are dramas of parting with the way of life that is fading into the past and the traditions associated with it. No less difficult, contradictory - both in the city and in the countryside - is the establishment of new relations, a new way of life, absorbing the features and norms of modern life. The meaning of this process is universally significant, in the end - universal. The inevitability of decay, the disappearance of the former labor relations, their transformations in the process of socio-historical changes and technical shifts are natural for Shukshin. The modern city draws into its orbit a huge number of the rural population, for whom this process is associated with certain losses of previous skills, labor traditions, family life. The replacement of the old by the new may be accompanied by negative phenomena of the moral order. V. Shukshin sees them, analyzes them. Reproducing at times a bizarre interweaving of the funny and the dramatic, the writer warns us against a frivolous attitude to what is happening, from thoughtless laughter.

The fading of the old family relations runs more sharply and more painfully in the countryside. The origins of the drama are in the social and moral consequences of the breakdown of rural families: in the collapse of ties with the land, the extinction of the traditions of agricultural labor. V. Shukshin writes about the irreversible changes in the spiritual and moral makeup of a person that occur as a result of alienation from the land, from the family (Egor Prokudin). Of course, there is no fatal predestination or someone's evil will in this. Shukshin treats a person with the greatest confidence, his reason, good inclinations, independence. It depends on the person himself how reasonably and wisely he will dispose of all that valuable that was bequeathed to him by older generations. Shukshin is demanding of his characters, biased, but objective, giving them the right to make their own decisions, make choices, evaluate what is happening. At the same time, he is far from indifferent to how the relationship between fathers and children develops, what are the fates and prospects for the continuity of generations. Children sometimes reject the experience of older generations, considering it to be inconsistent with the level of modern life, hindering it, and therefore belonging only to the past. The experience of children is formed in new conditions of life; progress seemed to predetermine the advantage, the success of new generations.

The writer's question addressed to fathers and children: “Which of us is right? Who is smarter? - does not receive a direct answer. Yes, it should be so: it is impossible to answer this eternal question monosyllabic and categorical.

Shukshin finds a lot of good in old people, first of all, devoted love for children, forgiveness - in their touching letters, in tragicomic aspirations to help, teach, save the lost, in the ability to understand, justify and forgive children, while maintaining independence, spiritual firmness. Shukshin's old people have so much wisdom, human dignity, patience, that the sympathies of the author are obvious to the reader.

If worldly wisdom is understood as cordial responsiveness, tact, tolerance, then in this too, preference should be given to the generation of fathers and grandfathers. Of course, we find in youth reciprocal feelings of gratitude, compassion, understanding of their duty. Minka Lyutaev loves his father, whose arrival awakens in him romantic memories and even secret dreams of returning home. (“I wanted to take a sip of the steppe sagebrush wind with my chest ... I would have quieted down on a warm slope and thought. And a picture arose again in my eyes: a free herd of horses rushing into the steppe, and in front, proudly arching its thin neck, Buyan flies. But surprisingly quietly in the steppe” ). Capturing the hero with their poetic power, these memories are gradually extinguished.

Recognizing the high merits of the older generations, respectfully saying goodbye to them, Shukshin gives the floor to the young, puts them into action with his dramas. The idea of ​​spiritual continuity, concretized in characters and situations, symbolizes the eternal movement of life, in which good moral principles win.

The artistic world of Shukshin is crowded, “noisy”, dynamic and picturesque. An illusion of its complete naturalness, perfect unity with reality is created. The ocean of life, as if throwing out this figurative world at a moment of mighty excitement, did not stop its endless run. New generations will follow the departed. Life is endless and limitless.

Village and city

Do not cry so plaintively, cuckoo,

Over water, over cold roads!

The whole mother of Russia is a village,

Maybe Syt, this corner...

Nikolay Rubtsov

In early 1966, Your Son and Brother was released. Along with a high assessment of the film (for example, by the well-known director G. Chukhrai in Komsomolskaya Pravda), such reproaches and accusations rained down on him that Shukshin put aside all other cases and wrote an article “A question to yourself, in which not only answered his opponents, but also developed in detail his view on the problem of "village - city".

“No matter how much I search,” Shukshin wrote, not without irony, “I don’t find a“ deaf malice ”for the city in myself. What causes anger is that which causes it in any of the most hereditary city dwellers. No one likes rude salesmen, indifferent pharmacists, beautiful yawning creatures in bookstores, queues, crowded trams, hooliganism at cinemas, etc.”

But why, one wonders, did Shukshin have to start a conversation about things that seemed obvious? But the fact is that some critics were outraged - but what is there! - the behavior of one of the Voevodin brothers, Maxim, was simply horrified. Yes, how dare he, this fledgling village youth, behave so boldly and defiantly in Moscow pharmacies, how can he shout in the face of honored pharmacists that he hates them! Ah? .. The opposition is obvious: in the village - good, kind, in the city - callous, evil. And for some reason it did not occur to anyone who saw such a “contradiction” that a “100%” Muscovite could behave just as sharply and uncompromisingly in Maxim's place. And in general, how well do we know ourselves: somewhere we can really keep calm and even polite efficiency if one of the people closest to us becomes menacingly ill? ..

That's where the paradox lies. Not criticism, but the pharmacist insulted by Maxim perfectly understood our hero. And Shukshin showed this psychologically accurately. But ... a terribly stubborn thing - a literary-critical label. A few more years will pass, Alla Marchenko will write about Shukshin, "starting" from several dozen stories: "I believe in the moral superiority of the village over the city." Moreover, on the pages of newspapers and magazines, the division of literature into “clips” is in full swing, and you are enlisted by friendly efforts in the “villagers”.

To be honest, some writers feel even better in such situations: it doesn’t matter what they say about them, the main thing is that they would say more: when a name “flashes” in print, glory is louder. Another thing is the artists who care not so much about fame as about the truth, the truth, the thoughts that they carry in their works. For the sake of this, they believe, it is sometimes worth taking risks, expressing what is sore in extremely frank journalism.

“If there is something similar,” Shukshin wrote further in the article “A Question to Yourself,” “to dislike for the city is jealousy: he lures young people from the village. This is where pain and anxiety begin. It hurts when a bad silence falls on the village in the evenings: neither the accordion “is looking for anyone”, nor the songs are heard ... The roosters are yelling, but even then somehow not like that, somehow “individually”. Fishermen's fires do not burn across the river, hasty shots do not thump at dawn on the islands and lakes. Arrows and singers dispersed. Worrying. Have gone... Where to? If another rude saleswoman appears in the city (to learn this - just spit), then who bought it here? City? No. The village is lost. She lost a worker, a bride, a mother, a guardian of national rites, an embroiderer, and a troublemaker at weddings. If a peasant lad, having studied in the city, draws a circle around himself, becomes pleased and ashamed of his village relatives, this is clearly a human loss.

If an economist, a connoisseur of social phenomena with figures in his hands, proves that the outflow of the population from the countryside is an inevitable process, then he will never prove that it is painless, devoid of drama. And does it really matter to art - where did a person go? Yes, in such a massive way.

Only in this way and in this sense did we touch on the “problem” of the city and the countryside in the film. And of course, showing the village, they tried to bring out everything beautiful in it: if you have already left, then at least remember what you left.” About Ignaty Baikalov, the hero of the story “Ignakha has arrived”, it cannot be said that he “drawn a circle around himself”. No, he, as L. Emelyanov convincingly showed in the article “Unit of Measurement”, is a completely exemplary son, and an exemplary one not for show, not only because he meets the normal village ideas about a good son, but because he really is like that - kind, open, cordial. Yes, the father’s old man is embarrassed that his eldest son has such an unusual profession - a circus wrestler, he can’t understand Ignatin’s “horse” - ranting about the “criminal unwillingness of the Russian people to engage in physical education”, but not yesterday he heard about it, and we get to know each other far not with the first arrival of Ignatius from the city to native village. So why is internal discord felt in a good family, why do the reader and viewer have no doubt that father and son will no longer understand each other?

L. Emelyanov is right: Ignatius has really subtly changed in some ways, in some ways he involuntarily departed from the age-old, primordial life tradition, in the bosom of which his family lived and still lives. Perhaps it has become somewhat sharper than this tradition allows, “louder” or something ...

There is no need to talk about “obvious human loss” here, but there is a “wormworm” in a once healthy organism.

And here is Shukshin's story about how the village lost a worker, a bride, a mother. The story “There, in the distance”, which we want to talk about, does not belong to the most notable works of Vasily Shukshin, but in it, in our opinion, the author just tried to most clearly show the drama of such a social phenomenon as the outflow of the population from the village (I think it is not by chance that the story and the article coincide in time of publication - “There, in the distance” was first published in the 11th and 12th issues of the magazine “Young Guard”, for 1966).

Once, about ten years ago, as we meet the heroes of the story, the head of the distant Siberian economy, Pavel Nikolaevich Fonyakin, took Olga - his beloved and only child - to the city, to the pedagogical institute. A year and a half later, I found out that my daughter had gotten married, then, quite soon, news came from her - they broke up. "^ 0lga left the institute, came home. She sweated - did nothing - for a year in the village, again left for the city. A new marriage. But she didn’t get along with the “talented scientist”

All this, of course, is important, but the main thing is different. In the fact that - even if unconsciously and not for long - Olga Fonyakina saw herself in Pyotr Ivlev - distant, former ... She saw - and wanted to return ten years ago with his help. And this heartfelt attempt of hers was not at all absurd (in fact, this was the only thing that saved her), but in order to achieve this very real goal, it was necessary to forget the “new” self, to get away from the present one. Alas, so well understood by reason, it turned out to be unattainable in practice. “And the untidy, senseless days and nights began to grimace. It was as if an evil wind picked up Ivlev and dragged him along the ground.

Olga betrayed her new betrothed. She did not abandon her broken company, which was obviously engaged in “dark” deeds .. But it was not her behavior that betrayed Ivleva Olga and not even the fact that she, among her former “friends”, found herself in the dock .. “Infections you!” Peter shouted in the face of the drowsy girl, one of those that personified for him the “evil spirits” around Olga. “Toadstools on the ground, that's who you are! - He stopped in front of the girl, clenched his fists in his pockets to calm the trembling. - Pulled the silk! Did you learn how to move your legs? .. - The trembling did not subside; Ivlev turned pale with rage and resentment, but he could not find words - murderous, smashing. - What did you understand in life? .. Eat! Drink! Lie down under just anyone!.. Bastards...” But Olga, she doesn’t deserve such words in any way, she made a mistake, stumbled, she didn’t start living like that. Just explain to her, say: “I understand you well. It happens like this: you go somewhere - in a forest or in a field, you reach a place where the road diverges into two. And unfamiliar places. Which way to go is unknown. And you have to go. And it's so hard to choose, it makes your heart ache. And then, when you are already walking, it hurts. You think: “Is that right? Maybe you shouldn't have come here?" Olga, she is beautiful, I love her so much, she must understand everything, everything. “You bastard,” Olga said frankly angrily and sharply. She sat down and looked at her husband with a devastating look. - He said right: the pumpkin is on your shoulders. What are you doing to people? I learned how to swing an ax - do your job ... I'm leaving: completely. The people you are talking about are not so good. No one is deceived, and neither are they. You are an idiot. They drove you to the “right road” - walk and keep quiet. Who gave you the right to stick your nose in other people's business?

This is, so to speak, “philosophy”. And one that is oh so difficult to fix. Olga will return to Ivlev, once again try to start all over again (how radiant her plans will be!), They will leave for the village, but only external changes will occur. She will soon leave her good intentions and take a trite, “beautiful” walk with a local teacher. And again, her father, the director of the state farm, Pavel Nikolaevich Fonyakin, will be painfully ashamed, and - for the umpteenth time! - looking at the strong figure of his daughter, at her beautiful face, he will sadly think: “What a woman ... a wife, a mother could be.”

What happened to Olga, the only support and hope for elderly and deserving parents? What?..

"Wednesday stuck"? Okay, but how did Olga Fonyakina, who was going to become a teacher, get into this semi-philistine, semi-thieves “environment”? Bad marriages are to blame? But who pulled her to marry on the lasso? .. No matter how much we want, there will be many questions after reading the story “There, in the distance”.

Critics wrote a lot about this Shukshin's works, but built all their reasoning around the image of Peter Ivlev. She felt sorry for this good guy, hinted that it was not his business to love such a “fatal” woman, complained that Ivlev was weak in thinking, that his feelings overcome his mind. He was at a glance, this Pyotr Ivlev, and it seemed that the story was written about him, about his bitter and failed love. And Olga? Well, everything seemed to be clear with her too: this is how she is - “fatal”, unlucky, nothing can be done. It's a pity, of course, but no more than a pity for, say, the unforgettable Manon Lescaut or Madame Bovary.

So what happened to Olga Fonyakina? It is impossible to prove “mathematical”, but you can feel that this story is still about her, outstanding, passionate. Has the city ruined it?

Let's stop, read an excerpt from the following Shukshin article "Monologue on the Stairs" (1968):.

“Of course, a young guy with a ten-year-old is empty in the village. He knows (approximately, of course - from movies, books, stories) about city life and strives to imitate city life as much as possible (hairstyle, clothes, transistor, different words, attempts to somewhat simplify relations with grandfather, in general - the desire to flutter a little ). He doesn't realize he's funny. He took everything at face value. But if a radiance came from my head now - I would suddenly become so smart - even then I would not be able to convince him that what he aspires to is not city life. He will read it and think: “We know this, this is to calm us down.” I could say for a long time that those boys and girls at whom he looks with secret envy from the auditorium are not like them in life. This is a bad movie. But I won't. He himself is not a fool, he understands that not everything is so nice, easy, beautiful among young people in the city, as they show, but ... But there is still something. There is, but it's completely different. There is work, all the same work, reflections, the thirst to know a lot, the comprehension of true beauty, joy, pain, pleasure from communicating with art.

Olga Fozyakina dreamed, no less vaguely and vaguely than Pyotr Ivlev, and it seemed to her that she was reasoning soberly. It was extremely clear to her: another life awaits her, and sleep will win this life at all costs. No, she doesn’t need anything special, she is a modest person. Here she lives alone in a cozy room on the edge of the city. Winter. The wind howls outside the window, and it is warm. All sorts of good thoughts about life come, so good that you can compose poetry. She will lay out all this “primary” dream of hers to Ivlev, returning from prison.

Olga went to college. She was interested in learning, but she listened even more avidly to “real” “social” conversations. Edith Piaf? Excuse me: he sings well, but he doesn't know how to write books. There is no such women's literature. You know what every third woman thought after reading her confession: “If I told you!..” After Chekhov or Tolstoy, you won't think so. What else? Poetry? Our? How to say .. Such words turned her head like wine. She really, really wanted to learn how to speak them, and who knows, perhaps her first chosen one was such a “secular” talker, narrow-minded, worthless.

Well, she learned to say those words. And even her childhood dream became more refined “Everything should be amazingly serious ... There should be a huge library with rare books. There must be two tables... Night. You follow one, I follow the other. Twilight, only table lamps are lit. And nothing more. Two tables, two chairs, two folding beds ... No, one such wide bed, covered with a patchwork quilt. And pillowcases on pillows - chintz, with flowers...”

Life cruelly laughed at these good impulses. Yes, everything is possible. But, both in the countryside and in the city, dreams will remain dreams if labor is not applied to them, “all the same labor, reflection, thirst to know a lot, comprehension of true beauty, joy, enjoyment from communicating with art.”

Having sobered up from the “beautiful” life, Olga wants to be extremely “natural” and “practical”. She almost swears to Peter Ivlev: “I need a husband after all. I'm serious: you're the best I've ever met. Just don't be jealous of me, for Christ's sake. I'm not quiet, I despise such people myself. I'll be your faithful wife. - Olga got up and, in genuine excitement, walked around the cramped room. - No, Petya, it's great! What the hell are we looking for here? It's crowded, stuffy... Remember how good it is there! What kind of people are there... gullible, simple, wise.”

But even there, far away, in the village, she will not be well. She will measure life with the same components, she will justify all her actions again with a different life for which she is supposedly intended, she will check the teacher Yura, who is “stunned” by her, for the same Edith Piaf, for Tsiolkovsky invented by her, for comfort with library cabinets, in a word, to “secularism” and “intellectuality” ...

What will become of her, with such a one?.. Truly: the village has lost, but the city has not gained. So, is Shukshin really an “enemy of the city”, asserting the moral superiority of the countryside over this “fiend”, “the temptation of the twentieth century”? ..

So they thought, so they thought. And he suffered, he tried to understand: what is the matter?

“A village guy,” Vasily Makarovich reflected, “he is not an ordinary person, but very trusting. In addition, he has the “leaven” of a peasant: if he believes that the main thing in the city is comfortable housing, it is relatively easier to feed his family (he does not need to take strength and intelligence), there is where to buy, there is something to buy - if only in this way he will understand the city , in this sense, he will beat any city dweller.”

But how, then, to understand the city and how did Vasily Makarovich Shukshin understand it? He finds surprisingly simple, deep and vivid words (all in the same article “Monologue on the Stairs”): “The city is also a quiet house of Tsiolkovsky, where Labor did not seek glory. The city is where there are huge houses, and there are books in the houses, and there it is solemnly quiet. The city came up with a simple brilliant idea: "All people are brothers." It is necessary to enter the city as believers enter the temple - to believe, and not to beg. The city is factories, and there is a strange charming charm of cars there.

Well, if you came to the city and understood all this. But if you stayed in the village and do not secretly think that fate has bypassed you - that's fine. She did not bypass, she will come, they earn her. Chasing after her is pointless - she is like a beautiful bird: she will fly off and sit down. And sit close. If you run after her, she will fly off again and sit down two steps away. Go and think that she is taking you away from the nest.

So, the city, according to Shukshin, for a rural person is a holy receptacle of thought, where a person has every opportunity to become like everyone else and at the same time one and only. But only if he understands who is really smart here, who needs to learn from. “Listen to smart people, not talkers, but smart people. You will be able to understand who is smart, “you will go out to the people”, you will not be able to - there was no need to go seven miles of jelly to slurp. Think! Look, listen - and think. There is more free time, there are libraries at every turn, reading rooms, evening schools, all sorts of courses ... “Know, work, but don’t be afraid!” Turn your age-old patience and perseverance to make a Human out of yourself. Intellectual spirit. It's a lie if a person picked up " different words”, I learned to wrinkle my forehead with displeasure at exhibitions, kiss the hands of women, bought a hat, pajamas, went abroad a couple of times - and already an intellectual. They say about such people in the village: “From the forest to the pine”. Don’t look where he works and how many diplomas he has, look what he does.” ...And how he thought, how deeply he thought about the village! No, our well-known sociologist and demographer V. Perevedentsev did not say anything when he said about Shukshin that he was "a great expert on the social problems of our village." Shukshin thought about the countryside precisely at such a state level and at the same time was not afraid to fall into exaggeration, into hypertrophy of real problems. It is unlikely that anyone expressed such sharp, sore, uninhibited thoughts about the village as he did.

“Is there a desire in my work to stop village life in the old patriarchal forms?” Shukshin honestly asked himself. And he answered: “Firstly, it won’t work, you won’t stop it. Second, why? Is it bad when there is electricity, TVs, motorcycles, a good cinema, a large library, a school, a hospital?.. Stupid question. This is not a question: I am looking for how to approach one very risky reasoning: the line between city and country should never be completely erased. This is not an agro-town - a village - even in a bright future. However, if this concept - an agro-town - includes electricity, cars, plumbing, a technical school and a theater in the district center, a telephone, consumer services - let it be an agro-town. But if lightness is also included in this concept, let's say with what city dweller can change his place of work and residence - there is no need for an agro-town. The peasantry must be hereditary. A certain patriarchy, when it presupposes spiritual and physical freshness, must be preserved in the countryside. It will be permissible to ask: what to do with the well-known idiocy, protecting “some kind of patriarchy”? But nowhere. He won't. He is not. The spiritual need of the countryside has never been less than that of the city. There is no philistinism. If young people are drawn to the city, it is not because there is nothing to eat in the countryside. They know less, have seen less - yes. Least of all the true value of art, literature was explained there - yes. But this only means that all this must be done - to explain, to tell, to teach, and to teach, without destroying in the peasant his eternal love for the land. And who destroys? Destroyed. A boy from a peasant family, finishing ten years old, was already ready to be a scientist, designer, "big" man, and least of all was preparing to become a peasant. And now... And now, if for some reason he stayed in the village, he feels left out. Here they tried to the best of their ability and cinema, and literature, and the school, ”wrote Shukshin in the article“ A Question to Yourself ”.

Today, many would subscribe to these thoughts of Shukshin. And then? .. Then such reasoning seemed not only risky, but also pretentious. But Vasily Makarovich was not embarrassed. He continued to reflect on the subject boldly and frankly.

“I agreed,” Shukshin wrote already in the article “Monologue on the Stairs,” “in this way, to the extent that in the village it would be necessary to preserve that ill-fated “some kind of patriarchy,” which causes us either a condescending smile or an angry rebuff. What do I mean by this "patriarchy"? Nothing new, unexpected, artificial. Patriarchy as it is (and let this word not scare us): customs, rituals acquired over the centuries, respect for the precepts of antiquity.

Yes, Shukshin generously used in his work his thorough, thorough knowledge of the countryside and all the diverse problems facing and facing a rural person, including those who eventually come to the city, that is, changing dramatically - both internally and externally. But under all circumstances, he was most interested not so much in certain processes as in a person, his essence.

In an interview with the Soviet Screen magazine (1968), Vasily Makarovich quite definitely said that the village meant for him "not only longing for the grace of the forest and steppe, but also for spiritual immediacy." “There is spiritual openness in the city, but next to the earth it is simply more noticeable. After all, in the village the whole person is in sight. That's why all my heroes live in the countryside."

In other words, in those years he chose mostly real or recent villagers as his heroes, not only because he himself was born and raised in the countryside and knew these people and their life thoroughly, but also because this allowed him not only to learn more, but also it is more essential to express painful thoughts about modern man, about his being and about his being, regardless of where he lives, where this person is registered. And only in this sense is the poetic epigraph applicable to many of Shukshin's works: "Nature and people are more visible in the village."

In the end, both readers and critics felt it. It’s only a pity, as a human being, it’s a pity that this happened much later than it could ...

“The Village and the City in the Works of Vasily Shukshin” - this is how we have the right to formulate today the topic of literary critical research, which was quite confusing in the past. Moreover, this applies now to the work of not only Shukshin: it seems necessary for us to seriously think about the words of another well-known modern writer, close friend of Shukshin, prose writer Vasily Belov: “... in fact, there is no purely rural, closed-to-all problem - there is nationwide, nationwide problems”.

How many times, almost in every article of the last seven years, the following Shukshin statement was quoted, but in place of those words that we will highlight, only ellipsis was put, because it was obviously assumed that these words were random, used “for consonance” only, no special they do not carry any meaning, any “additional load”:

“So it happened to me by the age of forty that I was neither urban to the end, nor rural already. Terribly uncomfortable position. It's not even between two chairs, but rather like this: one foot on the shore, the other in the boat. And you can’t help but swim, and it’s kind of scary to swim. You can’t stay in this position for a long time, I know you will fall. I'm not afraid of falling (what kind of fall? from where?) - it's really very uncomfortable. But even in this position of mine there are “pluses” (I wanted to write - fluxes). From all sorts of comparisons “from there - here” and “from here - there”, thoughts involuntarily come not only about the “village” and about the “city” - about Russia.

Significant statement! But here is our problem! - quite often we perceive certain thoughts of the artist not only in isolation (and often contrary) from the entire context of his work, but also in isolation from the context of his work, from where this statement is taken. (It is enough to recall Pushkin's words quoted almost to the proverb: poetry must be stupid. Is it possible to imagine a true poet who would literally heed this statement of a genius?)

There is no doubt that Shukshin reflects - long, painfully, joyfully and painfully - not only about the village and the city, but also about all of Russia: the most convincing evidence of this is the nationwide, if not worldwide recognition of his work. But why, in this case, the pluses are called “pluses”, and in brackets it is unambiguously referred to some “fluxes”, that is, about something that is swollen, prevents you from opening your mouth properly?

Conclusion

The rare variety of content and forms of different types of art in the work of one person can be explained in the very nature of Shukshin's exceptional talent, in that special perception of reality, the impulses of which constantly updated him, determined the most complex internal processes of accumulating observations, knowledge about a person, enriching spiritual experience. On this basis, new prospects for work opened up. Her intensity and tension convince her that the possibilities of creativity, filled with the deepest passion of the artist, were multifaceted, seemed inexhaustible.

The life-giving source of Shukshin's creativity was the village, especially his native Srostki in Altai. “Either the memory of youth is tenacious, or the train of thought is such, but every time reflections on life lead to the village. It would seem that there, in comparison with the city, the processes taking place in our society are calmer, not so violent. But for me, it is in the village that there are the sharpest clashes and conflicts, - the writer shared his thoughts. - And by itself, as it were, there is a desire to say my word about people who are close to me. Yes, young people are leaving the village - leaving the land, from their parents. From everything that brought her to drink, nurtured and raised her... This process is complicated, I don't presume to judge who is to blame here (and are there any to blame?). However, I am deeply convinced that we, artists, also bear some share of responsibility for this.”

Returning to this topic again and again, perceiving it poetically, V. Shukshin explores the life of rural workers in historical development - from the war years to the present. The village, as it were, tied into a single knot many vital problems of the country (“the most acute clashes and conflicts”), which for their artistic solution demanded a deepening both in history and in the modern life of society.

Nevertheless, Shukshin saw the beginning of the beginnings of many historical phenomena in post-war reality, which deeply “disturbed the soul” of the writer. The dramatic revival of life from the ruins, disastrous devastation was experienced by Shukshin in youth. He walked this difficult path along with everyone - through parting with his native home, the drama of loss and early orphanhood.

V. Shukshin found his own way in the implementation of innovatively bold ideas, transforming and modifying stable genre forms in the unceasing, exceptional in tension, selfless work.

Film stories by V. Shukshin organically enter the mainstream of Soviet literature, brightly and originally reflecting the general trends of its development: the novelty of the interpretation of an ordinary character, in which the writer discovers essential qualities, analyticity in the depiction of the environment and circumstances that form the characters, etc.

The interaction of different genres and genres in the work of V. Shukshin opened up opportunities for the implementation of new, innovatively bold ideas of the writer. However, this multi-genre unity is largely traditional for Russian literature, it goes back to folk poetic art - to the word, epic, fairy tale, parable. In the harmony of talent with time and the life of the people - the origins of the rapid ascent of V. Shukshin to the pinnacle of recognition. The national nature of the writer's art contains an explanation and solution of the mystery of his artistic charm and extraordinary impact on his contemporaries.

I tried to present the work of V. Shukshin in a free, natural movement: in the integrity and unity of problems, genres, style specifics. Visibility, plasticity, polyphony are characteristic of all the writer's work - from the story "Villagers" to historical narratives, film stories and satirical works. The integrity of V. Shukshin's work is due to the moral and aesthetic position of the artist, which, with the development of his art, became more and more clear, definite, militant in relation to everything unkind, negative, in their different qualities and guises. The direct publicistic speeches of the author, the severity of assessments, the unconditional judgment of the author are evidence of the most complex internal evolution of the artist.

The integrity of V. Shukshin's work is determined mainly by the peculiarities of the artist's worldview, his unique vision of characters, countless phenomena, facts that exist not in a disunited plurality, but in the unity of a moving being. The multi-genre, multi-style nature of Shukshin's art is clearly realized by the artist himself the need for a form that embodies precisely this being. Within the limits of various genres and types, cyclization has become an equally natural form of displaying reality in all its diversity, the possibilities of which are innovatively revealed and realized by the author.

The energy of content and conflict is found in the most diverse types and forms of polyphony. Dramatized dialogues, intersecting speech flows are so ambiguous and wide that they seem to require an exit into space: to the stage, to the playground, to the street. Heroes need publicity - a meeting, a crowded village gathering, where voices are heard openly, the rightness is affirmed, and the guilty are condemned or severely condemned in popular opinion. The non-interference of others in what is happening, in the fate of the hero turns into despair, loneliness, sometimes tragedy. Therefore, the framework of Shukshin's stories is open, the finals, with a few exceptions, are waiting for their continuation, calling for the complicity of the entire huge readership. The nature of the conflicts in Shukshin's works is such that it "does not fit" into the plot of one story. The most important situations unfold in plurality, gravitating towards one center: the hero, in the struggle for moral ideals, in steadfast, courageous resistance, in opposition to philistinism, malevolence, and consumerism asserts the socially necessary.

Other cycles of stories represent a kind of coils of increasingly complex content, which raises us to a new level of knowledge of life phenomena and characters, requiring more advanced qualities of research and analysis from the author and reader. Then, at the highest level, there is a transition to satire, the purpose of which, however, is not reduced to simple ridicule. This is a lofty, civic satire, in essence tragic.

Paying tribute to the artist-narrator, we recognize through the art of V. Shukshin the social purpose of literature, the prospects for its development.

List of used literature:

1. I. Tolchenova “The Word about Shukshin”; "Contemporary" M. 1982
2. V. Korobov “Vasily Shukshin. Creation. Personality”; "Soviet literature" M. 1977.
3. L. Emelyanov “Vasily Shukshin. Essays on creativity”; “Fiction” S.-P. 1983
4. V.A. Apukhtin "Prose Shukshin"; “Higher School”, M. 1986
5. V.F. Horn “Vasily Shukshin. Strokes to the portrait”; “Word” M. 1993
6. I. Dedkov “Final touches”; "Contemporary" M. 1989

As a writer, actor and director, Vasily Shukshin found himself immediately: he appeared in literature and cinema with his own themes, characters and style. You can immediately notice that the characters of Shukshin's works are some kind of unusual, "strange" people: "freaks", "psychopaths", "shims".

Some strange inexplicable deviation from the norm, from accepted standards of behavior, a desire to rise above the dull everyday life, even if by self-deception. Being immersed in everyday life, in the boring monotony of everyday life, Shukshin's characters dare to do something out of the ordinary in order to rise above the ordinary and above themselves at least for a moment.

Vasily Shukshin, first of all, was interested in the human soul in its sudden awakening, in moments of insight. Everything that precedes this moment is omitted by the writer. Hence the laconism of his stories, the conciseness of the material, the dynamism of the narrative.

Shukshin's heroes often make decisions and perform actions that, at first glance, are incommensurable with real reasons that caused them. So in the story "Give the heart!" Veterinarian Kazulin salutes with shots from a gun, shocked by the news of the first heart transplant. Sashka Ermolaev, offended by the saleswoman (the story "Resentment"), is ready to "break through with a hammer" to the truth. From resentment, he “sets his jaws”, Sasha “shakes” on him “no face”.

Why such a violent reaction? Rudeness is a common occurrence in our lives and are we already used to it? The fact of the matter is that "cranks" and "psychopaths" cannot get used to it. They are psychologically unstable, "explosive", and the author saw the reason for their "strange" behavior in the instability, disorder of their lives.

A small push from the outside is enough for confusion, mental disorder, internal discomfort to spill out into an explosion of hatred, resentment and recklessness. "I hate you all, bastards!" - the hero of the story "Snake Venom" yelled in his hearts, desperate to find a cure for his mother. Everything was concentrated in this cry: the feeling of powerlessness, disorder, and the desire to break through indifference in others, but most importantly, it expressed the pain that overwhelmed the heart of the hero and was so well known to the narrator himself.

The actions of Shukshin's heroes are sometimes unexpected, often unpredictable, but they make one not only wonder at the oddities of the human character (although this is not the main thing), but respect the individual, reckon with her. The origins of the conflict, which Sashka Ermolaev, Alyosha Beskonvoyny or Semka Rys so easily enter into, are not in the quarrelsomeness or fastidiousness of their natures. The spiritual needs of a person far exceed what life can give a person. And this intractable conflict with reality becomes a drama of characters, which often turns into a tragedy.

Shukshin's hero seeks to fill the inner void: one writes a treatise on the state, the other creates painting, the third composes verses for the stage ... The soul cannot stand it, not knowing how to live in emptiness, requiring a meaning that cannot be immediately comprehended: “Well, you live, well, you will give birth to children - why? They provided themselves with the essentials, they thought that they were not worse than people, but it turned out - then ... "" I would be born again! A? Let it not be considered - that he lived ... "- says Maxim Yarikov, a worker, in the story" I believe!

Shukshin's works are imbued with great love for people. Yegor Prokudin in "Kalina Krasnaya" is the image of a person who is deeply worried. From the dark thieves' world, he stepped into a new and bright one. His soul remained pure, he does not want to return to the past. The author shows that true kindness and morality cannot disappear. The hero of the work “Such a guy lives ...” strikes with spontaneity and kindness. He can naively "bend" something, but in his heart he is beautiful. So, in the variety of types of characters in Shukshin's works, in fact, the national character is represented.

20. Literary process of the 80s. Returned Literature. Analysis of one piece of choice

The "returned" literature was very heterogeneous, the following components can be distinguished in it: the works of the classics of the 20th century, banned by the Soviet regime for one reason or another, are Russian religious philosophy of the early 20th century, the poetry of N. Gumilyov, "Cursed Days" by I. Bunin, "Untimely Thoughts" by M. Gorky, "We" by E. Zamyatin, "Heart of a Dog" and "Fatal Eggs" by M. Bulgakov, "Suicide" and "Mandate" by N. Erdman, "Pit" and "Chevengur" by A. Platonov, "Requiem" by A. Akhmatova, many poems by O. Mandelstam, "Doctor Zhivago" by B. Pasternak; works of the "thaw" period that went beyond the limits of "thaw" liberalism: "Life and Fate" and "Everything Flows" by Grossman, Solzhenitsyn's novels and his "Gulag Archipelago", "By the Right of Memory" by A. Tvardovsky, memoirs by N. Ya.

Mandelstam and L. K-Chukovskaya; "fantastic stories" by A. Sinyavsky and Y. Daniel. This series also includes works begun during the "thaw" period (or inspired by "thaw" hopes), but completed already when the publication of works about Stalinism or simply anti-totalitarian in their pathos was impossible for political reasons - here, first the first line should be named "Children of the Arbat" by A. Rybakov, "White Clothes" by V. Dudintsev, "New Appointment" by A. Beck, "Faculty of Unnecessary Things" by Y. Dombrovsky, "The Steep Route" by E. Ginzburg, "historical" short stories by V. Tendryakov, "Moscow Street" by B. Yampolsky, "Disappearance" by Y. Trifonov, poetry by A. Galich and V. Vysotsky, the full text of "Sandro from Chegem" and "Rabbits and Boas" by Iskander, "Pushkin House" by Andrey Bitov; the literature of the Russian emigration is primarily the legacy of V. Nabokov, Vl. Khodasevich, G. Ivanov, B. Poplavsky, G. Gazdanov, as well as

literature of the "third wave", represented mainly by the works of I. Brodsky and A. Solzhenitsyn, V. Aksenov ("Burn" and "Crimea Island") and Y. Aleshkovsky, G. Vladimov ("Faithful Ruslan"), V. Voinovich, A. Gladilin, F. Gorenstein, S. Dovlatov, A. Zinoviev, E. Limonov, V. Maksimov, Sasha Sokolov, B. Khazanov ("King's Hour") and many others; Finally, the publication of works, mostly written in the 1970s and 1980s, but banned because of their "avant-garde", experimental nature, is primarily Ven's prose. Erofeev, poetry Vs. Nekrasov, I. Kholin, G. Sapgir, D. Prigov, L. Rubinstein, I. Zhdanov, A. Eremenko, E. Schwartz, A. Parshchikov, N. Sadur's dramaturgy.

The concept of "returned literature" appeared at sunset Soviet era, and it is associated with not the most the best sides our history. As you know, before the revolution, the Bolsheviks actively advocated freedom of speech and democratic rights. Having come to power and fearing counter-revolution, they brutally suppressed any resistance, suppressed public demonstrations of discontent and created mechanisms for controlling literature, far exceeding in their rigidity the tsarist censorship. (In 1917, the infamous “Decree on the Press” was introduced; in the 1920s, there was a main department for literary affairs; later, total control was exercised by the party leadership at all levels). Introducing a ban on freedom of speech, the Bolsheviks argued that this measure was temporary. However, in the future, the pressure of the authorities on the press did not weaken. Under these conditions, many writers who did not accept Soviet power or its methods wrote with little hope of being heard by their contemporaries. Only from the second half of the 1980s (and partly in the 1960s), due to the warming of the political climate, these works began to return to the reader. Among them there are genuine masterpieces, and all the returned literature was a herald of bitter truth for people. Let us turn to the main themes of the returned literature. First of all, this is the theme of revolution and the construction of a new world. Witnessing the brutal revolutionary upheaval, many writers doubted its necessity or satirically depicted its results. In this regard, we can point to the novel by B.L. Pasternak "Doctor Zhivago" (1955), for which he was expelled from the Writers' Union and forced to abandon nobel prize. If Pasternak allowed himself to doubt the revolution, then M.A. Bulgakov unconditionally denied it in the story "Heart of a Dog". Andrey Platonov's story "The Pit" (1930) is similar to " dog heart with its philosophical and allegorical character. At the same time, it was published almost simultaneously with Bulgakov's work. In his story, the writer points out the impossibility of a socialist paradise built on the suffering of innocent victims. The second main theme of the returned literature is the Stalinist repressions. It is most clearly revealed in the work of Varlam Shalamov (“ Kolyma stories”) and A.I. Solzhenitsyn. Both writers went through the horror of the Stalinist camps. After Stalin's death, he was rehabilitated, and, working as a teacher, created in complete secrecy their works. In the 1960s, during Khrushchev thaw, the best of them were published (“Matrenin Dvor”, “One Day in the Life of Ivan Denisovich” By 1971, Solzhenitsyn finished the novel-study “The Gulag Archipelago”, in which he reflects his camp experience. However, after the overthrow of Khrushchev, systematic persecution began, and from 1975 to 1994 the writer was in exile.The Soviet leadership tried to erase the memory of him and his works, but now they have entered the golden fund of Russian literature and journalism.

Socio-political and economic changes in the USSR, which began in 1985 and called perestroika, significantly influenced literary development. "Democratization", "glasnost", "pluralism", proclaimed from above as new norms of social and cultural life, led to a reassessment of values ​​in literature as well.

Thick magazines began to actively publish the works of Soviet writers written in the seventies and earlier, but for ideological reasons were not published at that time. So the novels “Children of the Arbat” by A. Rybakov, “The New Appointment” by A. Beck, “White Clothes” by V. Dudintsev, “Life and Fate” by V. Grossman and others were published. The camp theme, the theme of Stalinist repressions becomes almost the main . The stories of V. Shalamov, the prose of Yu. Dombrovsky are widely published in periodicals. Novy Mir published A. Solzhenitsyn's Gulag Archipelago.

In 1988, again, Novy Mir, thirty years after its creation, published B. Pasternak's disgraced novel Doctor Zhivago with a foreword by D.S. Likhachev. All these works were referred to the so-called "delayed literature". The attention of critics and readers was riveted exclusively to them. Magazine circulation reached unprecedented proportions, approaching millions of marks. "New World", "Banner", "October" - in these magazines the returned literature was printed.

Another stream of the literary process in the second half of the eighties was the works of Russian writers of the 1920s and 1930s. For the first time in Russia, it was at this time that A. Platonov’s “big things” were published - the novel “Chevengur”, the stories “The Pit”, “The Juvenile Sea”, and other works of the writer. Oberiuts are published, E.I. Zamyatin and other writers of the XX century. At the same time, our magazines reprinted such works of the 1960s and 1970s that had been cultivated in samizdat and published in the West, such as A. Bitov's Pushkin House and Ven's Moscow-Petushki. Erofeeva, "Burn" by V. Aksenov and others.

Just as powerful in today's literary process Russian literature abroad was also represented: works by V. Nabokov, I. Shmelev, B. Zaitsev, A. Remizov, M. Aldanov, A. Averchenko, Vl. Khodasevich and many other Russian writers returned to their homeland.

The originality of the national character in the stories of V. Shukshin.

Shukshin Vasily Makarovich (1929 - 1974), prose writer. Shukshin's creative path has undergone for 15 years significant changes. The artist made the transition from accurate everyday and everyday sketches, well-aimed observations of very diverse manifestations of folk characters (sometimes taught in a comic or tragicomic plan as a kind of "freaks" and "strange people") - to a more dramatic and even tragic presentation of fatal breaks as in individual human destinies, and in historical events past or in conflict situations of the present. Shukshin's increasingly obvious inclination towards the novel ("Lubaviny", 1969; "I came to give you free rein", 1971) and tragic (the film story and the film "Kalina Krasnaya") perception of reality refutes the prevailing opinion about him.

Shukshin was considered a master of stories, a representative of the so-called " village prose", who in the cinema allegedly remained a singer of natural naturalness, regretting the destructive moral rebirth ordinary people in the context of civilization. Before "Kalina Krasnaya", Shukshin's work was often understood from the point of view of the obsessive opposition of the city and the village, lack of spirituality, isolation from the roots - and rural naturalness, human individuality, deep connection with the native land.
Shukshin's story is dominated by dialogue. This and the dialogue in it classical form- as an exchange of remarks between characters ("The owner of the bathhouse and garden", "Hunting to live!", "Cut", "Space, the nervous system and the shmat of fat") or as the hero's torture of himself ("Thoughts", "Suffering of young Vaganov" ). This is also a dialogue in a monologue - like an ‘explicit’ or implicit polemic of a hero with someone else’s
knowledge, represented in the hero’s voice as a zone of someone else’s speech (“Strokes to the portrait”, “Alyosha Beskonvoyny”), or as a different voice in the hero’s speech, exposing his inconsistency
own consciousness (“Raskas”, “Postscript”, “Two letters”, “Mil pardon, madam!”), sometimes several forms of dialogue are intertwined in one story (“I believe!”, “Letter”, “Countrymen”).

Shukshin knew how to tell the subtle, poignant truth about a simple person. Like Kuprin, Chekhov, Gorky, Yesenin, he came to literature and art from the very "bottom" of the people, from the Russian hinterland. The earth and people, their being, their future - that's what excites Shukshin, attracts his attention. Tracing the life path of his heroes, he seeks to reveal their spiritual world, joys and worries, kindness and patience, the desire to understand for the sake of what life is lived - all those features of the national character that are inherent in the Russian people. The writer strives to create a bright, original image that bears the imprint of time. Its originality is in a special way of thinking, perception of the world, in a special "point of view" on the Russian people.

In Shukshin's stories, one can always feel the psychological depth, the inner intensity state of mind hero. They are small in volume, reminiscent of ordinary, well-known everyday scenes, as if accidentally spied on or overheard. But in these stories the most important questions of human relations are touched upon. They force the reader to notice in life what is most often not noticed, is considered a trifle. But our whole life consists of such trifles. And Shukshin shows how a person, his essence, is revealed in seemingly insignificant actions. Most often, the heroes of his stories are village people. He is attracted to usual life ordinary people, where, under the cover of everyday life, he could discern special features that together create a national character. He is interested in the moral world of man. In the great controversy about the human soul, the writer is always on the side of optimism. And Shukshin opposes careerism and greed, against rudeness and ignorance. The collision characteristic of Shukshin's stories - the clash of "urban" and "village" - reveals social contradictions, conflict relations between the dream and reality of the "little man" living in the village. The study of these relations is the content of many of his works.

"Cut off" - one of the brightest and deepest stories of Shukshin, central character which is Gleb Kapustin - "a thick-lipped, blond man of forty years old, well-read and sarcastic." The “fiery passion” of the hero lies in the desire to “cut off”, “besiege” fellow countrymen who have achieved success in life in the city. From his village, although it was small, many "noble people" came out: a colonel, two pilots, a doctor, a correspondent. When famous countrymen come on a visit, the village people gather to listen to marvelous stories about life unfamiliar to them. It was then that Gleb Kapustin came to "besiege" the noble guest. So it was when the colonel came to the village, and our hero “cut off” him with brilliance and beauty: they started talking about the war of 1812, and it turned out that he did not know who ordered Moscow to be set on fire. Gleb came out victorious, and the frustrated colonel beat himself on the head with his fist and was perplexed.

Depending on personal preferences and social experience, readers can see the story as either an everyday parable about how a “smart man” outwitted a “learned gentleman”, or a sketch about the “cruel morals” of the inhabitants of the village. In other words, he can either take the side of Gleb, or sympathize with the innocent Konstantin Ivanovich. However, the author does not share either one or the other position. He doesn't justify the characters, but he doesn't condemn them either. Shukshin only notices the features of their confrontation. So, for example, already at the beginning of the story, he talks about ridiculous gifts brought by guests to the village: an electric samovar, a colorful dressing gown, wooden spoons. The author also notices how the candidate “drove in a taxi”, and how he recalled his childhood with a deliberate “sadness” in his voice, inviting the peasants to the table. On the other hand, we see how Gleb "squints his eyes vindictively", as if "an experienced fist fighter." And only at the end of the finale, the author tells us about the feelings experienced by the men present at this verbal duel: “Gleb still invariably surprised them. Even admired. Though love, let's say, was not there. No, there was no love. Gleb is cruel, and no one, ever, anywhere has ever loved cruelty.” So the story ends not with moralizing, but with regret about the lack of tact and sympathetic attention of people to each other. A simple person in the image of Shukshin turns out to be completely “difficult”, and village life is internally conflicting, lurking serious passions behind everyday maeta. The author does not idealize his heroes just because they are “his own”, rural ones, but he does not strive for a moral judgment on them either. Another thing is more important to him - identifying the causes of mutual misunderstanding between people. In just a few pages of the story, Shukshin completely creates a human character and through it shows a whole layer of life, enriching the reader with a deeper understanding of it. The bright side of the individual style of the writer is the richness of lively colloquial speech. His hero is a debater, an experienced talker, who owns many intonations, who knows how to insert a saying to the place, flaunt a “learned word”, and even swear. It is the language that is the main means of expressing the character of Gleb Kapustin.

Shukshin with great art reproduces in the drama of characters and in the comedy of manners genuine historical details and features. In his satire, the real inner content of the hero is expressed least of all in the external figure of the narration. But the whole logic of the development of the plot leads him to self-disclosure, to the discovery of his own inconsistency, to an understanding of his negative essence. Shukshin, on the other hand, wants to see a person as beautiful in all his manifestations: in work, in the height of spiritual and moral thoughts, in love for a woman, in respect for the elderly, in kind attention to people around him, in belonging to big world. And he expresses this desire in his stories. That is why his works are so deeply moral, they teach us about life, warn against mistakes and bad deeds, strengthen our faith in the inexhaustible possibilities of the human person.

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Attention! The slide preview is for informational purposes only and may not represent the full extent of the presentation. If you are interested this work please download the full version.

Goals:

1. to acquaint students with the multifaceted personality and work of V.M. Shukshin;
2. give an idea of ​​the traditions of Russian classical literature in the work of writers of the 20th century;
3. develop the skills of ideological and artistic analysis of literary works;
4. to consolidate the ability to give a comparative description and see the author's position;
5. arouse interest in the work of V.M. Shukshin, his heroes, to reveal the originality of the writer's stories.

Educational tasks of the lesson: the formation of the ability to independently explore a work of art.

Developing tasks of the lesson: to develop the skills of creative reading of a literary work, based on its specificity - the art of the word.

Educational tasks of the lesson: to form the moral qualities of the individual, instill love for the word, educate patriotism, interest in the "small motherland".

Equipment:

1. Texts of V.M. Shukshina
2. Portrait of a writer
3. Exhibition of books by V.M. Shukshina
4. Decorated board
5. Video recording of the k / f "Kalina Krasnaya"
6. Musical fragments (recording of bell ringing)
7. Information Technology.

Literature:

1. Anninsky L. Comments// Shukshin V. Sobr. op. in 3 vol. M., 1985.
2. Antukhina V.A. Prose V. Shukshin. M., 1986.
3. Gorn V.F. Vasily Shukshin. M., 1993.
4. Korobov V.I. Vasily Shukshin. Creation. Personality. M., 1977.
5. Kaplina V., Bryukhov V. From the height of the Shukshin flight. Barnaul, 1998.
6. M.G. Dorofeeva, L.I. Konovalova, S.V. Fedorov, I.L. Sholpo “Studying the creativity of V.M. Shukshin at school.
7. Literature at school 5'99.

Epigraph to the lesson:

“We should not forget about the soul ...”
V.M. Shukshin

During the classes

Org moment. Introductory speech of the teacher

Let's write the topic of the lesson. Today we have a holiday lesson and, I hope, a discovery lesson. A holiday, because it is impossible to talk about a great writer in a casual, everyday way. A discovery, because through the poetics of the stories "The Master" and "The Strong Man" we will join the work of V.M. Shukshin.

Not only the literature of the 60-70s, but also modern prose cannot be imagined without Shukshin. Behind his non-standard approach to a person, behind his understanding of the origins of peculiar characters, one can see the uniqueness, brightness, depth of the artist's personality.

Reporting the topic and objectives of the lesson

Probably, you have already heard the name of Vasily Makarovich Shukshin, watch films in which he participated as an actor and director.

Vasily Makarovich Shukshin once said: “The purpose of art, in my opinion, is to help a person to know life and himself, to make people more humane, loftier, nobler. genuine art always calls for perfection, always truthful and modern.”

Today we have to

1. get acquainted with the multifaceted personality and work of V.M. Shukshin;
2. find out the main problems of the stories "Master" and "Strong man";
3. to note the traditions of Russian classical literature in the work of Shukshin

You have tests on the topic on the tables, you can answer the questions in them during the lesson, and we will check this work at the end. Be very careful.

Art should teach goodness. Shukshin saw the most precious wealth in the ability of a pure human heart to do good. “If we are strong and really smart in anything, it is in a good deed,” he said. He lived with it, Vasily Makarovich Shukshin believed in it.

A word about the personality and creativity of V.M. Shukshina

Vasily Makarovich Shukshin is a unique phenomenon: an actor who starred in 24 films, famous director, director, screenwriter, writer ..

Consider photos of Shukshin. Try to answer the questions that are now in front of you.

– Where do you think this person comes from?

- How much did he have to go through in life, how many obstacles did he have to overcome?

- What do you think, what character is hidden behind this appearance?

Indeed, the face is ordinary, of those that we call "simple." Only now the eyes, sad, thoughtful, and the hard folds at the mouth testify to the enormous spiritual tension.

He grew up like all village boys in Russia grow up: he ran along the streets of his native village, played bast shoes, fished, happened to fight, defending goodness and justice.

Skinny and undersized
Among the boys is always a hero,
Often, often with a broken nose
I came to my home
And towards the frightened mother
I squealed through a bloody mouth:
"Nothing! I tripped on a stone
It'll be all right by tomorrow."

These Yesenin lines can rightfully be attributed to Vasily Makarovich Shukshin.

But next to boyishness there was something else: hard work, childlike fatigue, eternal malnutrition and lack of sleep.

Now we will get to know V.M. Shukshin better, after listening to the story of his difficult fate, try to answer the following questions, they are in front of you:

– How will Shukshin use his early professional experience?

- How useful was Shukshin's early professional experience?

- How are two of his professions connected in the fate of Shukshin - an actor and a writer?

Now let's put our main question, to which we will try to find the answer:

– What is it - the Russian national character - in the understanding of V.M. Shukshin?

Conversation on the story "Master".

Entering into constant roll call, Shukshin's stories are truly revealed only in conjugation and comparison with each other.

Consider the story "Master".

- How does the story begin?

The hero of the story, Semka Rys, is presented to us in the very first lines by two definitions: “an unsurpassed carpenter” and “a bully”

- Why is the hero called by the diminutive name Syomka in the village?

- What is the reason for Semkin's drunkenness?

- What incident helped to “see”, to see through this true beauty, because he knew the Talitsky church from childhood?

– Why, having known the church since childhood, did he begin to look closely at it only after he visited the writer?

Let's take a closer look at the photo of the famous Church of the Intercession on the Nerl near Vladimir. Later in the story it is said that the Talitskaya resembles her.

Student's message about the Church of the Intercession on the Nerl

- What struck Syomka in the Talitsky church? Appeal to the exhibition of drawings.

Let's find the description of this church in the text

- What technique does Shukshin use to emphasize the peculiarity of this particular church?

- Find this episode in the text, let's comment on it.

– How does such a comparison emphasize the originality of the Talitskaya church?

- What was Semka thinking about, looking at the church?

Reading a passage by heart

“Silence and peace all around. … So the soul asked.”

An amazing, subtle motive sounds here: there is faith for show, formal, and there is one that is "from the inside", pure, bright, which gives rise to the true beauty of the human soul. The image of the church is so bright, pure and beautiful that it is simply impossible not to be imbued with deep love for it. It just symbolizes true beauty.

Find and comment on the metaphorical row in the description of the church.

“a girl of unprecedented beauty”, “a white stone fairy tale”, “like a song”, “a white beauty stands in greenery”, “an extraordinary beauty”. Let's write it down.

In these lines, there is an enormous gratitude for the church, for faith, for love for the world and people, for amazing kindness - the source of beauty.

Writing syncwine.

Of particular importance in the story "Master" is the theme of beauty. It is repeatedly heard in other works by V.M. Shukshin. "Russians have a national trait - a passion for beauty." In The Tale of Bygone Years, Nestor writes that Christianity in Rus' was taken for beauty.

- What means of artistic expression help the author convey his feelings?

Natasha thought about this, let's hear what conclusions she came to.

Message from a prepared student (Appendix 3)

- With which of the Russian writers is Shukshin similar in understanding true beauty?

Viewing a fragment from the movie "Kalina Krasnaya".

I suggest you watch the footage from the movie "Kalina Krasnaya", where Shukshin plays the main role, and the feelings conveyed by him are very close to the feelings of Syomka, think about what he is experiencing main character movie.

- Guys, how do you understand the phrase "holiday of the soul"?

So, the “holiday of the soul” is the moment of take-off, joy, liberation. When you want to push the boundaries, free yourself, penetrate into something unknown and beautiful.

– How does Shukshin describe the church from the inside?

– What moves this cell apart in the text?

Likewise, the heroes of Shukshin are always looking for an opportunity to break out with their souls beyond the rigid framework of the rectangles into which their life pushes them, to soar upwards.

The soul needs moments of takeoff, joy, liberation

The pure sound of the soul, like a bell.,. after all, the bell is the voice of the people, they said in Rus'.

We listen to the bell ringing, look at the illustrations of the belfry against the sky.

– What did you feel when you listened to the bell ringing?

– Why was he so struck by the shiny polished stone on the east wall?

- What caused Semka's desire to restore the church?

Shukshin emphasizes these two points when he writes about Semka:

"troubled by beauty and mystery"

What is Semka doing?

– Why didn't anyone agree to help Syomka?

– What do the churchmen and the authorities have in common in their views on the problem?

Igor Alexandrovich tells Semka that he was deceived just like he was. But was Semka deceived? He looks at the church differently, and therefore continues to persist: “Wow! Well, let's say - a copy. So what? Beauty - that did not decrease from this ”

- Who else is trying to turn to for support Syomka?

– Why do you think Shukshin needed an episode with a writer?

Why is the story called "Master"?

It is very important that in Shukshin's story the creator of the Talitsky church is not called an architect anywhere, he is a builder, craftsman, architect.

Working with dictionaries to clarify the meaning of words.

This nuance helps to understand Semka himself, who probably works “by inspiration”, as given by God. And let both "priests" and "native Soviet power" remain indifferent to the fate of the church. Their argument is dictated by common sense: the church does not represent historical and architectural value. So it turns out that no one needs a church, except for a simple person who has an acute need for faith, beauty and joyful peace of mind that the church gave. And this need is given not by priesthood, not by education, not by authority. It is simply there in the soul or it is not.

- Who is this master, whom does Shukshin mean: Semka or an unknown ancient Russian architect?

- Guys, why do you think Syomka stopped looking at the Talitskaya church?

- Against what current did Semka "rake"?

- Do you understand what fate awaits the hero?

- With the hero of which writer does the fate of Syomka echo?

What do their destinies have in common?

You are absolutely right. Not only the fates and characters of the characters echo, but the very stylistic features of Shukshin's story, which is more like a tale, make us recall the manner of narration by N.S. Leskov.

- Has the sense of beauty died in him, what do you think?

– What moral qualities attracts us to the main character of the story?

– How did this story enrich you spiritually?

This is confirmed by the syncwines written by you (Appendix 2)

L.N. Tolstoy once remarked that the loss of the meaning of life is sometimes tantamount to death. Compare this statement with the fate of Syomka The Talitsky Church, its perishing beauty, its secret, shook Syomka's soul, because he is a master, an unsurpassed carpenter. The idea of ​​the revival of beauty helped him find meaning in life, which he was not allowed to realize, they “killed” the life core in him and now he has a wound in his soul that bleeds and hurts, he can no longer look at the church, from pain and powerlessness, Semka "turns away, is silent and smokes"

He clearly understands that every person must remember the past, his thoughts echo the words of the Orthodox philosopher I. Ilyin: “... everyone is responsible not only for himself, but also for what he conveyed to others, what he sent to them, poured in them, with which he infected or enriched them.

However, this story, deeply dramatic in itself, is fully revealed to the reader only in comparison with another story, The Strong Man, with which it forms a kind of diptych.

– What brings this story closer to the story “The Master”?

- Find in the story "The Master" the words in which the plot of the story "The Strong Man" is outlined?

Conversation on the story "Strong man".

In the story "A strong man" Shukshin shows a hero who has lost his roots, who has lost touch with the spiritual origins of a Russian person.

What have we learned about him? Who is Nikolai Shurygin?

Why did foreman Nikolai Shurygin decide to demolish the church?

There are enough similar examples in our history. Recall at least the destruction of the Cathedral of Christ the Savior in Moscow. This temple was built with public money collected from all over Russia, and destroyed in Soviet times, and this destruction turned out to be filmed - day after day, step by step. Were you proud? The memories of the cameraman-chronicler Vladislav Mikoshi remained. He writes about how difficult it was for the temple to perish: “Worker battalions dug into the walls, but the walls offered stubborn resistance. Jackhammers broke, neither crowbars, nor heavy sledgehammers, nor huge steel chisels could overcome the resistance of the stone.

The same resistance is rendered by the old - for centuries - masonry in Shukshin's story.

- Find this episode in the text .

The climax of the story is the scene of the fall of the church, which cannot leave the reader indifferent. Let's pay attention to how Shurygin talks about the death of the church

Excerpt with italics on screen Read by student (Appendix 4)

– What associations do you have as you read the passage?

- What technique does Shukshin use to achieve such a feeling among readers?

How do people feel about what is happening?

- Why do people who did not stop Shurygin then turn away from him?

- How did Shurygin react to this?

What was the church for people?

Appeal to the epigraph of the lesson

That is why the theme of the temple - raised in these stories - is special in Shukshin.

I. Zolotussky wrote: “The prose of V. Shukshin begins in everyday life, is born in everyday life, but it reaches for the mountain snows”,

Shukshin in the story has one very important detail: bricks from which the old building was built, strong as casting; even when the church collapsed, they crumbled not individually, but in pieces - several pieces. Spirituality, which unites people, is just as strong.

And not just the "strong man" Shurygin encroaches on the old building, but on the foundations of human life, on something that is difficult to find a name in a word - on roots, origins, faith.

And so the hero is amazingly lonely in his village, and even in home.. And disapproving voices are heard from the crowd, the saleswoman does not want to sell him a bottle, they call him "idol", "devil", the wife does not cook dinner and goes to the neighbors and even the mother scolds, and with the same words as other women on the street at the store: "idol", "devil" ... She, the old one, is ashamed and scared for her son.

Indeed, faith and traditions are what unites people. And the one who neglects the unifying principles remains completely alone. This is what many of you wrote about in essays on the topic: “What is a family for you?” I want to read very short, but such important words now. I wrote them down for myself:

The family is the highest value of society. This is the safe corner where everyone returns with joy. Only in a family can a person be truly happy, find peace of mind, balance, silence of the heart. This is where personality matures. In the family world, the world of spiritual values ​​is revealed.

Without a family, it is impossible to fully educate a person. The family is a small world, a small society, and our Orthodox ancestors called it a “little church”.

– Why did even the closest people - wife and mother - turn away from Shurygin?

How do you understand the ending of the story?

Summing up the lesson

– Let's compare the main characters of the stories "Master" and "Strong Man", their relationship with others.

- What is it - the Russian national character?

Absolutely right guys. There is such geometric figure- an ellipsis, and so, according to G. Fedotov, in these stories Shukshin masterfully, deeply and correctly outlined the essence of the Russian national character, these heroes - standing apart, not understood and not accepted by other people, just represent extreme manifestations, two poles, polarity which is the Russian national character.

Appeal to the epigraph of the lesson

According to V. Rasputin, before Shukshin, "no one else in our literature has declared with such

impatience of the right to himself, no one managed to make himself listen to such internal affairs. In the case of the toiling soul... The soul is, presumably, the essence of the personality, the life of a permanent, historical person continuing in it, not broken by temporary hardships.

Test work (Appendix 1)

From the pages of Shukshin's books, his heroes look at us: drivers, collective farmers, ferrymen, projectionists, watchmen, priests - our big Russia. His literary credo was figuratively conveyed in his poem "In Memory of Shukshin" by Evgeny Yevtushenko

Comfortable in art
to be a French bun,
But you can't feed
no widows, no cripples, no orphans.
Shukshin was a humpback
with a red viburnum bite,
that little black
without which the people are inconceivable ...
When we ascended
on the heavy leaven of a peasant,
We are drawn to nature
to Yesenin's pure verses.
We can't deal with lies
You can’t get along in comfort,
And a heart like a falcon
Like a tied Razin Stepan.

Stories by V.M. Shukshin kept us in captivity for a long time. He was right when he wrote: "It seems to me that the simplest case, episode, meeting can become an object of art, and the simpler the episode, the case, the greater the scope for the artist." And so for the reader. Read his books. Carefully, slowly. And think, peer into the faces of his heroes. I think Shukshin's call, which we took as an epigraph, “We should not forget about the soul. We should be a little better. With our high speeds, we should not forget that we are people ... ".

Homework:

answer a question in writing

1. What attracted the hero of the story V.M. Shukshin "Master"?
2. How do you understand the words from the text: “If you know how to rejoice - rejoice, you know how to rejoice - rejoice ... "?

An excerpt from Shukshin's story "The Master", which we read by heart today, is included in the texts for presentations for the 9th grade course, therefore, as a homework, I suggest that you answer the questions proposed in the collection for preparing for the exam. You can choose one of the questions.