Oct 31 2010

In our difficult times, we sometimes try not to notice the difficulties that arise in the modern village. But it is they who are associated with the most current problems society - ecology and moral behavior of a person. The solution to these problems determines the further course of the history of our civilization.

The theme of many works by writers - contemporaries of V. Rasputin and V. Astafiev - is ecological problem. The example of Matera shows the fate of our numerous villages, which were destroyed supposedly for the benefit of the people, having built various hydroelectric power plants, thermal power plants, etc. The destinies of the heroes unfold against the background main problem, which hurt everyone. Throughout the history of Matera, the inhabitants stuck to each other, i.e. lived as one family. And the flooding native land unexpectedly fell on their heads. Residents are delaying leaving until the last minute, because many of them were afraid to leave here, where for for long years they existed. In the literal sense of the word, people are being erased from their past and are being confronted with an unknown future.

Mostly elderly people lived in the village, but it is impossible to start a completely new one at 70-80 years old. People resist to the last, they are even ready to die, but they cannot resist the huge machine of Reality, which sweeps away everything in its path. I believe that the heroes created by Rasputin are patriots of their native land. Maybe that’s why even nature itself “helps” the residents to ward off inevitable death from Matera.

Like Rasputin, Astafiev devotes a cycle of his stories to his contemporaries, “those who are lost or wandering, who are ready to shoot each other, who are drowning in the poison of the “babble”. tries by all means to draw the reader's attention to main idea- ruthless attitude towards the taiga. After all, since ancient times it has been a rich source of various natural resources. Using the example of Ignatyich, he shows the lawless robbery of nature. He lives one day at a time, without thinking about the consequences. In a duel with the symbolic king fish, in the face of an unknown higher power, a transformation occurs, at that moment he prays only for salvation. It seems to me that the unusual animal acts as the arbiter of justice over the poacher, showing that it is impossible to use nature forever.

Both works are united by one idea: a person’s masterful attitude towards environment. The urgency of this problem lies in the fact that the merciless exploitation and pollution of nature is fraught with irreparable consequences and environmental disasters in the future.

The existence of human society, its well-being and prosperity depend only on us and our joint efforts!

Need a cheat sheet? Then save - "Essay based on the works of V. Astafiev and V. Rasputin. Literary essays!

MOSCOW/; ORDERS. LABOR RED BANNER r r |^SANDY L UNIVERSITY

1 O I YUN Socialized council D 113.11.02 As a manuscript

Kuzina Anna Nikolaevna

V. Astafiev, V. Rasputin: artistic comprehension moral and philosophical problems of our time

Specialty 10.01.02 - literature of peoples

dissertation for the degree of candidate of philological sciences

Moscow - 1994

The work was carried out at the Department of Russian Literature of the 20th Century MPU

Scientific supervisor - Doctor of Philology, Professor

Euravleva A.A.

Official opponents - Doctor of Philology, Professor

Minakova A.M.,

Candidate of Philological Sciences, Associate Professor Vlasenko N.S.

Leading organization - Moscow Pedagogical State

military university.

The defense will take place on June 23, 1994 at 15:00 at a meeting of the specialized council D 113.II.02 on literary criticism at the Moscow Pedagogical University at the address: 107005, Moscow, Engels St., 21-a.

The dissertation can be found in the MPU library at the address: 107846, Moscow, Radio St., Yu-a.

Scientific secretary of the specialized council

Telegin S.M.

The appeal of modern Russian literature to moral problems, the spiritual quest of humanity in the 20th century was caused by the desire to take stock on the eve of the end of the century, to overcome the clearly recognized conflict between humanistic and technocratic consciousness. The era of scientific and technological progress introduced a huge number of technical inventions into human life, opened the way to space, but the human personality was relegated to the background. The 20th century became a century of catastrophes, the main of which occurred in the human soul - a spiritual, moral crisis.

Russian writers have traditionally found the origins of morality in the life of the Russian peasantry.

In the 70-80s, the collapse of the Russian village became obvious. The peasantry was placed over the abyss of extinction. The theme of the modern Russian village entered literature in the 60s in the essays of V. Ovechkin, Z. Dorosh, G. Troepolsky. In the early 70s, a galaxy of “villages” appeared: “. Abramov, V. Lichutin, V. Shukshin, Z. Belov, V. Astafiev, V. Rasputin, Ch. Aitmatov, S. Zalygin. Writers sought to capture the disappearing village, its life principles and moral foundations, seeing in this a kind of lesson of the times: a people without history, without traditions - a population.

Very soon it became clear: “villagers” is too narrow a definition. ¡k the prose was permeated with moral and philosophical.Hskpm;: p:;;-"l-niyami. "Village" prose posed the problem of Russian man in the 20th century; the problem of the lack of spirituality of mature man, which they solved in a universal human plan. Writers raised; : human personality as the greatest value.

The moral world of the individual, considered ¿".k, includes the concepts of Truth, Goodness, Beauty. Man, possessing moral qualities, explores questions about the existence of nature and the cosmos. The problem of creation, creativity as a process of self-knowledge , the “creation” of life and goodness certainly arises,<зел;: речь идет о нравственной личности. Все эти категории рассматривается писателями, решающи: в своем творчестве нраьстзеано-"даосо"Т-ские проблем.

It is of great interest to study individually the scarlet creative manners of specific artists working in this direction with the aim of developing typological features, adopting

relevant to both the literary process as a whole and creative individuals.

The most interesting representatives of moral and philosophical prose are V. Astafiev and V. Rasputin.

The subject of the research under review is ethical and philosophical problems. modernity in the prose of V. Astafiev and V. Rasputin.

The scientific novelty of the research lies in new approaches to understanding the moral and philosophical problems of our time in the works of V. Astafiev and V. Rasputin.

The reliability of the research is ensured by the fact that the conclusions reached by the dissertation author were obtained as a result of direct analytical work on the literary texts of Z. Astafiev and V. Rasputin, a wide coverage of critical literature, and such a study of fundamental theoretical works concerning the problems raised in the dissertation.

The research method is based on an integrated approach to the creativity of these writers, combining comparative and typological analysis. The methodological basis for the analysis was the works of M.M. Bakhtin, V.V. Vinogradov, D.S. Likhachev, A.F. Losev. When characterizing the modern literary process, the dissertation author took into account the works of L. Ginzburg, G. Belaya, M. Lipovetsky, V. Kokhin, V. Pertsovsky.

The goal of the dissertation under review is to explore the originality of the interpretation of moral and philosophical problems of our time in the works of V. Astafiev and V. Raspugin in the historical and literary context of the 70-80s, to achieve which it is necessary to solve the following tasks:

1) study the uniqueness of moral and philosophical issues in the works of V. Astafiev and V. Rasputin;

2) determine the tradition within which writers comprehend the moral and philosophical problems of our time;

3) identify the specifics of the means of artistic expression in the works of V. Astafiev and V. Rasputin.

The scientific and practical value of the work lies in the fact that the observations and conclusions obtained during the study can be used in lectures and practical classes on Russian literature.

re XX century, in special seminars on the problems of modern prose and subsided forms of work at the university.

Testing the work; The dissertation was discussed at a postgraduate seminar, meetings of the Department of Russian Literature of the 20th Century at the University, at scientific and practical conferences of the Moscow State Pedagogical University, Belarusian State Pedagogical Institute, and the Russian University of Peoples' Friendship.

The structure of the dissertation is determined by the purpose and objectives of the research. It includes an introduction, 2 chapters, a conclusion and bib-yugrafiya. ■

The main part of the dissertation is presented on the pages of the machine-young text. The bibliography includes 234 titles.

The introduction substantiates the topic of the dissertation, its novelty, and practical value, defines the goal and objectives, contains a review of critical literature, and characterizes the moral and philosophical problems of modern prose.

The first chapter - “The moral world of man in the prose of V. Astafye-I” - explores a set of problems that make it possible to reveal the moral characteristics of an individual.

The chapter contains an analysis of the writer’s early work, his writing, highlights the main themes of Astafiev’s prose, and rejects the Prishvin tradition in his study of the problem of man and nature.

The problem of war and love is revealed when analyzing the story [The Herder and the Shepherdess."

The theme of war in the story is the theme of Elements, Chaos, inhumane-I, breaking the pastoral harmony of the Lowlands.

For a writer, war is always an unnatural state, [and is depicted as a real and symbolic event that concentrates the horror and unnaturalness of war. Peace is not just a state of war, but also the harmony of human relations. I trampling on the world, for turning a person into an animal-like creature, punishment awaits humanity. The symbol of this punishment is a burning

German soldier. The horror of war incinerates Kostyaev’s soul. And only a woman’s love revives Boris’s soul to life. The image of Lucy becomes a symbol of rebirth, life, a symbol of Love. Love is a natural principle of human relationships. She encourages a person to do Good. But war is hell, it is hatred. It is impossible for a person with a loving soul to live in a world of hatred. Boris's death is the result of the destruction of his soul.

The Cairo work is a pastoral, where love is the center of the universe, the meaning and principle of the existence of man and the universe.

The chapter explores the problem of man and nature (“The King Fish”). The narration" in the stories "The Fish King" is permeated with the idea of ​​​​the harmonious unity of man, nature and the universe. The problem of man and nature is conceptualized by the artist as "man and the universe." The convention of the narration transfers the work to a universal human plane.

Plot-forming principle: the movement of the author’s thoughts from personal observations to philosophical generalizations echoes Prishvin’s works “Russian Nights”, “Kashcheev’s Chain”.

In nature, the writer identifies independently existing Forest (taiga), River, and White Mountains. Taiga is “mother”, before whom we are all “children”. The White Mountains are a symbol of the ideal, spiritual aspirations, the River is a symbol of Eternity.

Nature introduces a person to the mystery of life, to its meaning, to the life of the Cosmos (chapter “The Drop”). In relation to nature, Astafiev’s heroes are divided into “owners” (Akim, Paramon Paramonovich, Brigadier, Kolya), “poachers” (Damka, Komavdor, Ignatyich, Grokhotalo), “tourists” (Goga Gertsev).

In the chapters “The Lady”, “The Fisherman Rumbled”, “At the Golden Hag”, “The Tsar Fish” the writer explains the essence of poaching as a philosophy of life based on the desire to “snatch” as much as possible from nature, a philosophy of lack of spirituality.

Astafiev solves the problem of man in the spirit of the ideas of Russian religious philosophy: the human in a person is contained in his soul. Deprived of spirituality is immoral, capable of anything. Emphasizing the bestial nature of one of the poachers, the writer deprives him of his human face.

The destruction of nature, which gave birth to man, is the result of lack of

The symbolic picture of the duel between man and the king fish represents the author’s view: man and nature are connected together. Gi-el of the king-fish entails the death of its catcher. The King Fish symbolizes the vital power of nature, its endless existence, and at the same time, the dark forces in the human soul.

The chapter compares the image of the village of Chush with the equally unsightly, devoid of harmony village of Sosnovka from Rasputin’s story “Fire”.

The chapters about poachers are contrasted with the chapter “Ear for God’s sake.” It presents the life of an artel of fishermen, the principle of its existence was the principle of communalism: they worked, lived together, raised children together, took care of each other. Community life teaches goodness. According to Astafiev, the community embodies the harmony of human beings. relations, idyllic world order.

The writer emphasizes that the rejection of communal principles will lead to the destruction of human relations: with the collapse of the artel [the village fell into disrepair, Akim’s family fell apart, and his mother died.

If the ideal of human relationships for the writer is common, then the ideal of the relationship between man and nature is depicted by the writer in the price of catching whitefish. The narrator is trying to catch a big fish, but it turned out to be “cunning and stronger.” But the fisherman was lucky: he saw a “dark-backed handsome man.” In delight, the narrator shouted boastfully that “... I’m a good guy, and the whitefish is a good person! ... I got it, ... gave me such joy!”1 An equal fight and the joy of victory. But there is only joy: having enjoyed the victory, the narrator releases the fish.

Astafiev depicts the same fair duel between a man and a bear in the chapter “The Wake.”

The writer creates a model of human society, a model of the world, in the chapters “Boje” and “The Dream of the White Mountains.”

The theme of childhood and family is included by the writer in the problem of man and king. He interprets the family theme as part of the national

[. V.Astafiev. King fish. M., 1980, p.269.

spiritual tradition, its basis. The story about the dog-breadwinner of a large family forms a parallel with the story about Kolka, who replaced his father at the age of fourteen (chapter “Boye”).

In the chapter “Boye”, family episodes serve as the eventual plot of the plot - the author-narrator’s trips to his homeland are motivated by the desire to see relatives. His family is not simple, and the nature of the narrator’s relationship with her reveals his moral position. Forced to leave his family as a teenager, the hero retained family feelings, love for his father, brothers and sisters. The indissoluble connection between the hero and his family becomes a symbol of the infinity of life.

The relationship between man and nature is just as complex. Astafiev’s nature is wise and fair, but it also contains a formidable threat that poses a danger to man. Astafiev emphasizes the severity of nature; it has plot significance. The heroes are not in a state of contemplation in relation to nature, as is typical for the heroes of V. Rasputin, but actively interact with it. All of them are tested by the severity of nature, and the resolution of the conflict in any situation is determined by the level of morality of the hero.

Man cannot exist outside of nature, just as nature needs man.

The center of a harmoniously arranged universe is a person capable of resisting the forces of destruction and evil. Man is the force that brings stability to the universe, and man, the master, regulates his relationship with nature.

Astafiev considers the peasant to be the owner and guardian of nature; he is the “anchor of life”, “the taiga... without a person is completely orphaned.”2

At the same time, northern nature requires enormous courage from the human owner. The harsher the nature, the more spiritually integral, persistent character is formed in a person.

2. V. Astafiev. "Tsar Fish". M., 1980, p. 171.

3, the basis of V. Astafiev’s model of the world is harmony in nature and the inner world of man.

One of the writer’s favorite heroes, “Akim,” strives to be left alone with the taiga. It is in the taiga, “among the white mountains,” it seems to him that he will find peace of mind, “an everyday haven.”

The White Mountains - a symbol of purity, the spiritual quest of the hero - promise the fulfillment of all his cherished desires.

In the chapter “Dream of the Lazh Mountains” Astafiev confronts two philosophical systems - the communal Akim and the nihilistic Gogi Gerdev.

Goga lives for himself, he wants to be free from everything and everyone - from the state, family, people. He does not think about the higher meaning of life. But you can be free only by knowing the Truth. A person is free when he has comprehended necessity.

Hegel considered the measure of freedom as perceived foreseen necessity. Pride prevents Hertsev from cognizing the Truth (necessity). His self-confidence and disregard for the laws of the taiga turned out to be fatal.

Gerdev's nihilism led to a separation from “true” life and turned his life into a game.

Akim embodies the qualities of the people's character, formed under the influence of the communal way of life and harsh nature. He knows the laws of life in the taiga and obeys them. There was always a willingness to help people in him.

Akim’s communal philosophy revived Elya, who almost died in the taiga, where Hertsev had frivolously brought her to life. Under the influence of Akim, she comprehends true values ​​and comes to understand her own essence. The heroes live according to natural laws, and this helps the needles survive in the winter taiga.

They learn their unity with the natural world, the descent of their existence - to continue life, work, create, strive for the ideal, the symbol of which has become for them the White Mountains.

Through the consciousness of his need for another person, through love, Akim comes to the need for self-improvement. rn turned out to be capable of high selfless feelings.

Eternal questions concern the hero: what death and immortality mean for a person. The author solves the problem of death together with the problem of immortality. Along with their belief in immortality, the people lost themselves. Py-

Trying to delay death, they commit a crime. The artist likens the vain, meaningless low life to the “human taiga,” where it is easy to get lost and die. -

The essence of existence, the artist believes, lies in the unity of man and the universe, in the eternal creation of life, the purpose of man is to do good, to continue life on earth. A woman embodies the “thirst for life,” a man is her protector and support, and both of them carry the burden of life.

The artist tests his philosophical thoughts with the “Book of Ecclesiastes,” the pathos of which is in the search for the foundations of human existence.

"Astafiev affirms the immortality of the human soul, the drama of earthly existence. 1

Artistic modeling of the system of the universe, literary reminiscences of the “Book of Ecclesiastes”, with the works of Prish-vsha, Hemingway, with the fairy tale “The Little Humpbacked Horse” by Ershov, the use of images-symbols: a drop, silence, a flower, mountains, a river give the book a philosophical sound The combination of several layers of narration - journalistic, event-related, parable - contributes to the “enlargement of the image.”

In the works of the 80s - the story "The Sad Detective", the story "Lyudochka" more and more attention is paid to the problem of good and evil. The writer explores the causes that give rise to evil and the forms of combating it.

Among the reasons contributing to evil, the hero of “The Sad Detective,” policeman Leonid Soshnin, names “consent to suffering,” pity for the criminal!,1, humility, indifference. Soshnin sees two ways to fight evil: the path of strength and the path of self-improvement, unity and helping people - the path of good.

The path of power is symbolized by a single-track railroad ending in a dead end.

The path of good leads the hero to the search for the Highest truths, to moral self-improvement. On the path to the highest truth - creation - the Family, where people unite, where they help each other improve, and the Earth, which preserves people’s ability to live on, to remember the good, of those who lived before them.

The symbol of Leonid’s unity with people is a dream in which Soshnin overcomes the river that carries away his daughter. In mythology, the motive of entering

Entering the river and crossing it means gaining new life.

In the story "Lvdochka" the writer contrasts the all-encompassing power of evil with an even greater force - the evil element, capable of crushing everything around. This is possible if the laws of evil reign in the world and the laws of good are trampled upon.

But the force that opposes evil cannot be good; good is a constructive, creative force. How scary is a society in which there is no place for the forces of good. The fate of a person in such a society is tragic.

The heroine of the story, the girl Lyudochka, feels unwanted to anyone, even her mother. She doesn't see the meaning of her life. Even faith in God - her last hope - turned out to be unworthy of her. Hunted down by people, loneliness, and the meaninglessness of her existence, she dies.

The harmony of life and human relationships was captured in the story “The Last Bow”.

A harmoniously arranged world is the author’s childhood village - Ovsyanka. Vitya Potylitsyn’s character is formed by the moral laws of the village: mutual assistance, honesty, hard work, beauty.

Machchik Vitya is an orphan, but he does not feel his orphanhood - he has a family where they love him, where they wish only good things. The child feels protected. The feeling of caring for each other, honoring relatives is the main thing in a peasant family.

Among those childhood impressions that remained in the soul and were decisive in the formation of character and in spiritual life, one of the most striking is the birthday of my grandmother. This was the day when all relatives paid tribute to the head of the clan (chapter "Grandmother's Holiday"). And, of course, they started a song. The song - majestic, strong - unites this large family, revealing in the souls of people that common harmony (hardworking, song-like) that they inherited from their grandmother and which will pass into Vitya’s soul.

The best folk qualities were embodied in the image of grandmother Katerina Petrovna: joyful acceptance of life, loyalty to traditions, life according to the principle of justice, honoring relatives and family. Her life is inspired by closeness to nature, to the eternal celebration of the renewal of life, and faith in the Supreme Justice - in God.

“Hardworking, song-loving” - these words become characteristic

quiet life of the village. The artist paints an agricultural and labor idyll, ideal in many ways, harmonious:! a world where human existence through labor is connected with the natural cycle, where generations (grandmother, grandfather, grandson) come together for different activities, ordinary labor processes (cutting cabbage in the chapter “Autumn Sadness and Joy”) and food (about the moral lesson of the grandmother) acquire a sublime meaning The narrator’s grandson is reminded of a wonderful gingerbread in the chapter “The Horse with a Pink Mane”).

Human ties - social, family - collapsed along with the destruction of the peasant way of life. And the writer precisely indicates the reason - collectivization.

The world of modern Oatmeal has lost its harmony. The image of the cemetery that appeared on the site of the clearing is symbolic (the final chapters of “The Last Bow” - “Evening Thoughts”, “The Forgotten Little Head”).

Characterizing modern rural life, the writer uses the motif of games and theater, thereby denoting the concept..! unnatural, absurd phenomena.

The lifestyle of modern residents of Ovsyanka is generated by the prison “morality: live one day at a time. Their existence is meaningless (the fate of their father), filled with terrible and wild episodes.

The writer sees the reasons for lack of spirituality in isolation from agriculture, sharing the views of the soil scientists: F. Dostoevsky, N. Strakhov, A. Grigoriev.

The destruction of Faith, Home, community, agriculture is destructive. The grandmother’s words sound prophetic: “How will you live without God?” “You will destroy the earth, you will destroy all living things...”3.

The end of peasant life is depicted symbolically: an ice floe with the remains of a dismantled peasant house and its owner rushes downstream along a spring river. Ahead - traffic jam, death. The image of a peasant house, dismantled into a raft on which the “kulaks” were expelled from the village, in A. Platonov’s story “The Pit” carries the same meaning.

Thus, the theme of the death of the peasant world, which appeared

3. Astayov V. “Evening Thoughts.” The final chapter of the story “The Last Bow”//Nosya Mir, 1992, .”3 3. P.13.

from Platonov, picked up by moral and philosophical prose, found its unique completion in the work of Astafiev.

The world of the peasant idyll is destroyed. Absurdity reigned. People are driven by a feeling of fear.

Childhood is opposed to the world of the absurd. This childhood lives forever in the artist’s soul. Preserving the human soul is the path to finding harmony. Faith in God, the Highest Ideal, as well as “music and flowers” ​​- Beauty and Creativity - can save the soul.

Continuing the tradition of F. Dostoevsky, Astafiev believes that beauty can awaken in people the desire for the ideal, for the spiritual, and revive the soul.

Belief in a miracle gives a person hope.

Starting from turning to childhood, from resurrecting his memory of integral existence, Astafiev came to an awareness of the global issues of life. The panorama of Russian life of the 20th century ("The Last Bow") would outgrow the awareness of Russia, in the understanding of its "original plan", the essence of the Russian character.

Chapter two - “Man and his moral quest in the prose of V. Rasputin” - characterizes the heroes’ search for ways of goodness, the meaning of their lives, ways to save the modern world from lack of spirituality and moral crisis.

Rasputin explores the problems of death and immortality, Beauty, Happiness, Memory, personality and progress, the meaning of human life, man and the universe.

3 Rasputin’s comprehension of the inner world of man reveals the lessons of F. Dostoevsky.

The writer continues the traditions of Tolstoy, Turgenev, Tyutchev, Platonov, Prishvin. ,

All levels of the writer’s artistic system were influenced by the philosophy of the cosmists. “He has the features of symbolism. Rasputin’s work has a palpable “folklore basis.” His attitude towards folk art is determined by the artist’s desire to reveal the moral potential of the people.

In the story “Money for Mary,” the writer reflects on the stability of the moral principles of a village man under the pressure of changed circumstances.

The story tests the idea of ​​the need for spiritual solidarity

ity in human relationships. The system of material and communal values ​​is presented in the story as a starting point, an idealized, proper coexistence of people.

The main character of the story is not Maria, but her husband Kuzma. Sn is endowed with the features of an integral national character and worldview, a deep mind, a sensitive heart, and self-confidence.

This is a hero - a “savior”, typologically going back to the “wanderer” heroes of Platonov, who have the status of a “savior”.

The plot of the story resembles the plot of a Russian folk tale: an unexpected misfortune, a series of trials for the hero. Rasputin used the plot of “walking for the truth” in a new way, substantiating the idea of ​​spiritual solidarity in human relationships.

The ending of the story remains open: we do not know whether Kuzma’s brother, who has long broken with the village, will give money to save Maria, or whether “suffering” awaits her. But Kuzma's epiphany: "knows" predicts a dramatic answer. The symbolism of the story also creates a tragic foreboding.

The mutual assistance of people is destroyed, this leads to the destruction of the family. Rasputin builds a chain of images-symbols: Bride (symbol of purity, childishness of the soul) - Mother (soul of the family, harmonious order in the world) - Family (harmony in the state, in the world). The destruction of a family is the destruction of harmony in the world.

People are increasingly interested in material things. It displaces the feeling of compassion, selflessness, kindness, love. And then the way of the cross is prepared for the human soul. And Mary (the first) is destined to pass it.

The guardians of the moral foundations and traditions of the family in Rasputin are old women, such as Anna from “The Last Term”, Daria from “Farewell to Matera”.

The story "The Deadline" explores the problem of human death and the meaning of his life. The theme of death is developed by the writer in accordance with popular moral ideas: anticipation of death, preparation for it, the afterlife of the soul.

The writer considers a dual attitude towards death - the fear of death, characteristic of the modern irreligious consciousness, and the calm expectation of it as a consequence of traditional, religious thinking. Fear of death is a natural result of humanity, the existence

living in an atmosphere of irreligion. “Death seemed natural to the Russian peasant, like birth, but a solemn and formidable (and for many believers, joyful) event that relieved bodily suffering..

Old woman Anna is the moral ideal of the writer. She embodies the experience of many generations. The heroine is accompanied by the motive of the death date known to her in advance. She imagines her departure as bright and joyful. This characterizes her as a saint.

Anna lives by the instinct of her family. According to Rasputin, this is the meaning of human life.

To create an image of the soul, the writer uses the mythopoetic image of a bird. The Christian idea of ​​death is associated with the image of the soul, with the theme of its salvation. Death is another life, the life of the soul.

The meaning of human life is revealed through understanding death. The writer solves the question of the meaning of life in the traditions of religious cosmists: the meaning of human life is the continuation of Life on earth. The continuity of the life of the race is the meaning of human life, this is a kind of immortality of humanity: “... for this reason man comes into the world, so that the world does not become poor without people...”5

Rasputin saw in his heroine a spiritually rich personality. Rasputin measures Anna's existence by the highest category of values: beauty.

The perception of the world as a system organized according to the laws of beauty was characteristic of the symbolists.

The chapter analyzes the connection between the story “The Deadline” and A. Platonov’s story “The Third Son”.

The problems of happiness and family fate are considered by Rasputin in the story “Live and Remember.”

The central event of the story "Live and Remember" - Andrei Guskov's escape from the war and its consequences are depicted by the writer from the point of view of folk morality.

4. V. Belov. Collected works in 3 volumes. M., 1981-1983, volume 3, pp. 132-133.

5. V. Rasputin. Four stories. L., 1982, p. 526.

The writer attaches great importance to the topic of family fate. Avoiding fate and looking for the easy way leads to losing oneself. Having betrayed his fate, Andrei embarked on the path of evil.

In the mythological aspect of the design, the image of Andrei is based on a well-known character from Russian folklore - the werewolf. Naphthena is the wife of a werewolf, driven to suicide by him.

Rasputin shows different degrees of destruction in Andrei the human. The thirst for destruction grows within him. The writer conveys the idea that in isolation from the world of people, human qualities themselves fade away. His hope to redeem himself is the birth of a child. He connects the meaning of his life with procreation. The child must justify his sin - an unauthorized change of fate.

Nastena embodies the moral ideal of Zhedlina." She is characterized by kindness, devotion, selflessness, and the need for self-sacrifice.

For her, procreation is not only the meaning of life, but also happiness. She accepts her fate," shares the sin of the mother. Rasputin emphasizes the connection of her image with the image of the Virgin Mary.

But a sin against fate is also a sin against mother earth and the Mother of God. He cannot be redeemed. Nastena is torn between two truths: the truth of the village community and her personal happiness.

The picture of Nastena’s death is symbolic: in the middle of the river, in the middle of two banks - two truths.

The story ends on a conciliatory note: the village did not reject Nastena, she left her in her circle of pity and memory.

In the story “Farewell to Matera,” the writer again turns to the “spiritual foundations of the Russian peasantry. He creates in the story a model of the world based on the principles of harmony.

In Rasputin’s artistic world, the universe is divided into the “early” world - righteous, and the “alien” world - sinful. "

The “former” life is presented by the author in a picture of haymaking: the joyful work of people who feel their strength, unity with nature. This fills a person with peace. He lives in accordance with the natural cycle. And nature also demonstrates its “merciful” attitude towards people. The unity of people and nature is felt in some kind of rhythm that has always existed, but has only opened up now.

Rasputin comprehends the problem of man and nature in line with the ideas of cosmist philosophers. He is close to N. Fedorov, who believed that man is not just a creature of nature: “the viewer of immeasurable space” “must become their inhabitant and ruler”

Nature, according to Rasputin, asks a person and “should answer.” The writer connects the problem of knowledge with nature.

Approaching the rhythm of life of nature, a person learns the meaning of existence - creativity.

The image of Daria embodies the writer’s ideas about “former” people. She knows the highest meaning of human life, she is firmly connected with her family, and feels responsible for the future.

Her grandson Andrei is opposed to her. It belongs to “present” life. He has lost contact with his family, and he easily parts with his homeland - Matera. His life is subject to the mechanical rhythm of modern civilization, in which faith in God has been lost and spirituality has been lost. God was replaced by a machine, man began to worship material values. Lowness for the sake of self-satisfaction is a perversion of human essence.

V. Rasputin will associate the current crisis in the spirituality of humanity with the loss of Faith. Man consigned his soul to oblivion, the enjoyment of a well-fed, beautiful life full of pleasures became the only goal.

Technical progress is impossible without moral progress. Without a soul, a person is a beast. Only faith can curse the beast in a person.

The concept of progress in the story is conceptualized in line with the ideas of cosmist philosophers: man and the world around him (nature) are parts of one whole, and when a person, without changing himself, without taking the path of his own spiritualization, self-improvement, transforms nature, this leads to a crisis - and environmental and moral.

The flooding of Matera is associated with the Apocalypse. This is a punishment that befalls people for lack of faith, for the loss of their human essence.

The image of Matera grows into a symbol of parting with natural

6. N. Fedorov. Essays. M., 1982, p. 501.

natural life, and with the earth itself.

The origins of spirituality, according to Rasputin: Faith, connection with the family, with mother earth, with that piece of space in the world that he inhabited and of which he became a part.

Rasputin's stories of 1982 continue the study of moral and psychological problems: man's awareness of his place in nature, overcoming internal discord, and comprehension of higher truths.

Key concepts in Rasputin’s concept of man: awareness of one’s human essence, one’s nature, knowledge of the world (Higher truths).

The highest goal of man is the embodiment of the Higher Mind, which will lead to conscious control of nature (“active evolution” by N. Fedorov).

The highest limit of knowledge is conversation (Bakhtin), dialogue with God. According to Rasputin, contact can be made on an irrational basis, when a person manages to “turn off” his “I,” as it were. Tyutchev called this state, when daytime consciousness turns off and a person plunges into “deep inaction,” “all-seeing sleep.” It is in this state that the boy Sanya is in (the story “Live a Century, Love a Century”), when the Highest truths are revealed to him and he joins the life of the Cosmos. The story is based on the myth of initiation.

According to Rasputin, a person then becomes a person when he realizes his life in relation to two starting points: birth and death. The writer associates the birth of personality, man, with this powerful existential discovery.

For a boy, a day spent in the taiga opens up a different world, not like the everyday one, where everything is bright and fresh, where the “beauty” and “completeness” of the world is revealed. He feels as if he saw everything around him for the first time. Another countdown will begin for Sanya. He joined the life of the Cosmos, Nature, felt his kinship with it, the strength of his feelings, capable of “containing” (cognizing) the entire fullness of the world. He is close to solving the mystery.

Rasputin's prose touches on the Highest truths, which cannot be told by reason, but by feeling and emotion. This is how prose makes its way into poetry.

The story "What should I tell the crow?" explores the conflict between the volitional decision and the demand of the soul.

The writer plunges into the hidden levels of mental and spiritual reality. He introduces the reader to the world of his inner life. The reader becomes a witness to the writer’s existential-philosophical self-analysis, learns about the tormenting feeling of discrepancy with himself, about the feeling of his “accident,” internal “homelessness” and “substitution.” A person cannot form an adequate idea of ​​himself, as well as of the world, although he strives for this. The process of personal self-awareness is very difficult; for this you need to “lose your temper.”

The chapter analyzes the state of the hero, who is trying to penetrate the secret of the life of natural elements, to join Eternity, which Rasputin portrays as an invisible road, according to. where voices are heard.

Illuminating the processes of intuitive, subconscious comprehension of existence, Rasputin continues the traditions of turn-of-the-century literature: Vl. Solovyov, L. Andreev, I. Bunin, A. Remizov.

The image of Natasha is associated with Solovyov’s myth about the “Soul of the World” and eternal femininity. It becomes a symbol of divine wisdom: by joining the life of heaven, a person joins the mystery of Being. This is also a symbol of purity, ascent to spiritual truths.

Rasputin's stories contain features of realism and symbolism.

The problem of lack of spirituality in modern literature, the problem of “lost people” is at the center of the story “Fire”.

People deprived of the instinct of the farmer cease to be creators and become dependents, “Arkharovites.” The alien, “unrighteous” world - the village of Sosnovka is opposed to the righteous world - Matera. In a foreign world, everything has been “turned upside down.” The main values ​​are material. In the “unrighteous world” the boundaries between good and evil have become blurred.

Ivan Petrovich struggles with the perverted laws of life. He condemns the "Arkharovites", but he lacks the creativity to

find ways to save them. He does not foresee the possibility of saving these people. He has no hope, and his soul grumbled.

Two main forces drive life: memory, the active influence of the past in its highest values, and creativity, the search for new paths.

Ivan Petrovich lacked creativity. Truly moral creativity is not content with moral judgment, but seeks ways of salvation for “sinners.”

Ivan Petrovich feels “ruined” in himself and only one path has been chosen - to leave the village to live with his son. It is on the threshold of this decision that the fire catches him. At the symbolic level of reading the story, reminiscences arise from the “Apocalypse”, from the picture of the death of the “Whore of Babylon”. But fire, fire, is also a cleansing element. Rasputin's philosophical reflections are in line with the ideas of Russian cosmists, who perceived in the "good news" of Christ its main idea - the idea of ​​\u200b\u200bthe transformation of life, the divine-human work of salvation.

Cosmists destroy the idea that all human efforts in history are doomed. N. Fedorov affirms the idea of ​​the divine-human work of salvation, the joint action of human forces and God’s grace “in restoring the world to the splendor of incorruptibility as it was before the fall.” The outcome of history (catastrophic, judgmental or gracious) depends, according to Fedorov, on man: whether he will follow the will of God or follow the path of evil.

Not a call to a lonely desperate struggle, but a commandment for collective, creative work, the work of transforming the world and oneself - this is the way out that the writer offers; your own hero.

And a fire is not a disaster, not a punishment for sins, but a warning and cleansing at the same time. A symbol of the end of this world - a world of untruth, and the beginning of a new world - a world of truth and beauty.

After the fire, Ivan Petrovich feels relief and emptiness, his soul has been cleansed.

This is a wandering hero. Wandering is a very characteristic Russian phenomenon. The wanderer seeks truth, seeks the Kingdom of God. There is not only physical, but also spiritual wandering. Wandering is the impossibility of settling on anything finite, a striving towards the infinite and eternal.

He too, this “evil man, desperate to find his home,” is obliged to find it again as his natural field.

1naya, cultivating and decorating this land of activity.

In "Fire" the features of Tolstoy's prose can be traced: the initial orientation towards court and lynching, moralism, rationality of the plot, characters, symbolic images and motives.

3 conclusions draw conclusions based on the results.! research.

Moral and philosophical problems are comprehended by 3.Astafiev and.Rasputin!.! in line with the ideas of Russian religious philosophy.

Creating an artistic picture of the world, writers see him as a special person capable of resisting the forces of evil.

Artists find the meaning and purpose of life in the continuation of human life, in creativity.

By the beginning of the 80s, the philosophical principle in the works of writers was intensifying. Their poetics is dominated by symbolic images and mythological motifs.

The significance of the prose of Astafiev and Rasputin lies in their appeal to eternal universal values, in the proclamation of the value of the individual, in the return of the originality of Russia.

Kuzina A.N. The originality of Z. Rasputin's prose of the 80s./DST1U, 1.1., 1993, 12th edition, bibliography. 9 titles Manuscript dep. in 1SHI0N RAS.4 48087.

Kuzina A.N. The moral world of man in the prose of the 80s (Aitmatov, Astafiev, Rasputin).//Collection of scientific works. Abstracts. Blagoveshchensk, BGS, 1991, pp. 74-75. . Kuzina A.N. The evolution of man in the work of "I. Aitmatov.//Collection of scientific works. Abstracts. Blagoveshchensk, BGS, 1992, pp. 38-39.

Kuzina A.N. The concept of personality in the prose of V. Astafiev.//Collection of scientific works. Abstracts. Blagoveshchensk, AISh, 1993, pp. 59-60.

Discipline: Russian language and literature
Kind of work: Essay
Topic: Moral problems in the works of Valentin Grigorievich Rasputin

Municipal educational institution

Secondary school No. 6

them. Ts.L. Kunikova

Moral problems in the works of Valentin Grigorievich Rasputin."

Terentyeva Konstantia.

Teacher-consultant:

Cherkasova Tamara Borisovna.

Tuapse

Introduction_____________________________________________3 pages

Analysis of the story “Money for Maria”________________4 pp.

Analysis of the story “The Deadline”_________________7 p.

Analysis of the story “Live and Remember” __________________ 10 p.

Analysis of the story “Farewell to Matera” ____________ 14 p.

Conclusion_____________________________________________18 p.

Used literature_______________________19 pages.

INTRODUCTION.

If not me

then who is for me?

But if I'm just for myself,

then why me?

M. Gorky.

Famous writer

expressed

interesting thought: s

For a long time, there have been two ways to renew and change life.

revolution,

the second is the path of moral improvement, self-education of the personality of each person.

Who can reach everyone's soul?

The answer is clear: literature. Criticism notes

what is in the works of a series

our writers have long emerged as a new hero, thinking about the meaning of life and morality, looking for this meaning, understanding his responsibility in

Thinking about the problems and vices of society, thinking,

how to correct them, such a hero begins with himself. V. Astafiev wrote:

\"You always have to start with yourself, then you will reach the general,

to national

to universal human problems." Today, it seems to me, the problem of morality is becoming the leading one in modern literature. After all, even if our society is able

go to

market economy

get rich,

wealth cannot replace kindness, decency,

honesty.

On the contrary, all the vices of people can become worse. Among the writers who put moral problems of the individual at the center of their work,

name Ch. Aitmatov, B. Vasilyev,

F.Abramov, V.Astafiev, Yu.Bondarev, V.Belov, I would like to focus my attention on the works of Valentin Rasputin, because in my opinion, in his

works, various human characters and personalities emerge most clearly

solve moral problems in their own way.

Rasputin's stories are an attempt to get to the main and decisive factor in the well-being and state of mind of a modern person. There must be something that exists on top of all kinds of

differences and is important for everyone? The individual, the singular, the seemingly random reveals in Rasputin its connection with the “whole,” with the “folk,” with the “natural,” although there is room for

The question, what is the “regularity”, is left. Rasputin is driven by the desire to speak about what is necessary, which is ripe, so that it enters the consciousness of society, and perhaps something has shifted and

sharpened it in him, as old Russian literature did and as the books of F. Abramov, V. Bykov, V. Astafiev, V. Belov, S. Zalygin can do today.

Sergei Zalygin wrote that Rasputin’s stories are distinguished by their special “artistic completeness” - completeness and completeness of “complexity”. Be it characters and relationships

heroes, be it the depiction of events - everything from beginning to end retains its complexity and does not replace the logical and emotional simplicity of some final, indisputable conclusions and

explanations. The pressing question in Rasputin’s works is “who is to blame?” does not receive a clear answer. As if in return we realize the impossibility of such an answer; we guess that

all the answers that come to mind are insufficient, unsatisfactory; they will not ease the burden in any way, will not correct anything, will not prevent anything in the future; we remain face to face with the fact that

what happened to that terrible, cruel injustice, and our whole being rebels against it...

I will talk about 4 stories by Rasputin: Money for Maria, the last term, live and remember, farewell to your mother.

MONEY FOR MARIA.

Rasputin's very first story, “Money for Maria.” The plot of the first story is simple...

Pick up file

In many works by Astafiev and Rasputin, the main characters are children. It is noteworthy that the stories of these writers are largely autobiographical, but their main character is a generalized image that conveys common character traits and lives of many boys.

Thus, in V. Astafiev’s story “The Horse with a Pink Mane,” the hero is faced with a difficult situation. He and the neighbor kids went to buy strawberries. Vitka knew that his grandmother, with whom he lived, would go to sell this berry in the city. The boy, unlike the Levontiev scoundrels, diligently collected strawberries in a container. And his friends, having quarreled over her, ate the entire harvest. But to Sanka, the youngest and most evil of all the neighboring children, this seemed not enough. He began to urge Vitka to give all the collected berries to be “eaten.” The good-natured and naive hero succumbed to an evil trick. But then he committed an even greater stupidity - he filled the container with grass and only covered the top with berries, for show. And Vitka gave such a basket to his grandmother.

The boy was very tormented by his conscience. He felt bad because his grandmother did not suspect the deception, praised him and promised to bring gingerbread from the city. Life became not a joy for Vitka. Everything changed around him: he could no longer play, as before, carefree and fun. The consciousness of his guilt weighed heavily on him.

And it became even worse for the hero when his grandmother returned from the city. She, of course, discovered her grandson's deception. But, worse than that, Vitka put her in a very awkward position. Katerina Petrovna told everyone how she sold a bunch of berries to some city lady, and a deception was discovered there.

Vitka’s shame and guilt knew no bounds. He was ready to die, to fall into the ground, if only his grandmother would forgive him. Vitka went to ask for forgiveness, but from tears he could not utter even two words. The loving grandmother forgave her grandson and even gave him the prepared gingerbread - a horse with a pink mane. But the hero remembered this moral lesson for the rest of his life.

The hero of V. Rasputin’s story “French Lessons” also learns his moral lesson and makes his moral choice. He leaves his native village, his mother, to continue his studies. The time in which the story takes place was difficult, post-war. There was hunger in the village and poverty reigned. What could the hero’s mother gather for her son to “feed” him? She sent with Uncle Vanya, the village driver, a bag of potatoes - everything she could. But the boy did not receive this little money in full - it was stolen by the owners, whose apartment the hero lived in.

The hero writes that he was constantly hungry. Even in his sleep he felt the hunger pangs in his stomach. For the sake of food, the boy began to gamble for money. He became a virtuoso of the game "chicka", but he only won a ruble and not a penny more - for milk.

Soon older boys began to beat the hero - he played too well: “his nose was swollen and swollen, there was a bruise under his left eye, and below it, on his cheek, a fat, bloody abrasion curved.” But the hero continued to go to school even in this form.

He wanted to eat more and more. The hero no longer received any parcels from home - and he went back to play. And again they began to beat him. Then Lidia Mikhailovna, a French teacher, decided to help him - she sent the boy a parcel that supposedly came from home. But the hero immediately guessed who such “luxury” came from. And the teacher could not convince the boy to accept this gift with any persuasion - his pride and self-esteem did not allow him.

As a result, Lidia Mikhailovna was forced to leave for her homeland: she was caught playing for money with the hero of the story. And no one wanted to understand that this was another “trick” to save the student from starvation. But the hero also remembered this woman until the end of his life, because she became his savior angel.

The young heroes of the stories of Astafiev and Rasputin make their moral choice. And it always turns out in favor of Good, Light, and moral principles. And we, reading stories, take an example and learn from these boys perseverance, spiritual purity, kindness, wisdom.

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Lyceum of Modern Management Technologies No. 2

Abstract on the topic:

“Moral problems in the works of V. Rasputin”

Completed by: student of grade 11 “B”

Chubar Alexey Alexandrovich

Checked by: literature teacher

Bliznina Margarita Mikhailovna

Penza, 2008.

• 3
• "Farewell to Matera" 4
• "Money for Maria" 7
• "Deadline" 9
• "Live and Remember" 11
• Conclusion 13
• 14

The range of moral problems in the author’s work

V. Astafiev wrote: “You always have to start with yourself, then you will reach the general, national, universal problems.” Apparently, Valentin Rasputin was guided by a similar principle on his creative path. He covers events and phenomena that are close to him in spirit, which he had to endure (the flooding of his native village in the work “Farewell to Matera”). Based on his personal experiences and observations, the author outlines a very wide range of moral problems, as well as many different human characters and personalities who solve these problems in their own way.

Sergei Zalygin wrote that Rasputin’s stories are distinguished by their special “artistic completeness” - completeness and completeness of “complexity”. Be it the characters and relationships of the heroes, be it the depiction of events - everything from beginning to end retains its complexity and does not replace the logical and emotional simplicity of some final, indisputable conclusions and explanations. The pressing question is “who is to blame?” in Rasputin’s works does not receive a clear answer. As if in return, the reader realizes the impossibility of such an answer; we guess that all the answers that come to mind are insufficient, unsatisfactory; they will not ease the burden in any way, will not correct anything, will not prevent anything in the future; we remain face to face with what happened, with that terrible, cruel injustice, and our whole being rebels against it...

Rasputin's stories are an attempt to find something basic and decisive in the mentality and consciousness of modern man. The author approaches his goal by highlighting and solving in his works such moral problems as the problem of memory, the problem of relationships between “fathers” and “children”, the problem of love and attachment to the native land, the problem of pettiness, the problem of empathy, compassion, mercy, conscience, the problem of the evolution of ideas about material values, a turning point in the spiritual life of mankind. It is worth noting that the author does not have works devoted to any of the above problems. Reading Rasputin's novels and stories, we see the deep mutual penetration of various moral phenomena, their interconnection. Because of this, it is impossible to clearly identify one specific problem and characterize it. Therefore, I will consider the “tangle” of problems in the context of certain works and in the end I will try to draw a conclusion on the moral issues of Rasputin’s work as a whole.

"Farewell to Matera"

Each person has his own small homeland, that land that is the Universe and everything that Matera became for the heroes of the story by Valentin Rasputin. All of V.G.’s books originate from love for his small homeland. Rasputin, so I would like to consider this topic first. In the story “Farewell to Matera” one can easily read the fate of the writer’s native village, Atalanka, which fell into a flood zone during the construction of the Bratsk Hydroelectric Power Station.

Matera is both an island and a village of the same name. Russian peasants inhabited this place for three hundred years. Life goes on slowly, without haste, on this island, and over those more than three hundred years, Matera has made many people happy. She accepted everyone, became a mother to everyone and carefully fed her children, and the children responded to her with love. And the residents of Matera did not need comfortable houses with heating, or a kitchen with a gas stove. They did not see happiness in this. If only I had the opportunity to touch my native land, light the stove, drink tea from a samovar, live my whole life next to the graves of my parents, and when the turn comes, lie next to them. But Matera leaves, the soul of this world leaves.

Mothers stand up to defend their homeland, try to save their village, their history. But what can old men and women do against the almighty boss, who gave the order to flood Matera and wipe it off the face of the earth? For strangers, this island is just a territory, a flood zone.

Rasputin skillfully depicts scenes of people parting with the village. Let’s read again how Yegor and Nastasya postpone their departure again and again, how they do not want to leave their native land, how Bogodul desperately fights to preserve the cemetery, because it is sacred to the inhabitants of Matera: “And the old women crawled around the cemetery until the last night, stuck put back the crosses, installed bedside tables.”

All this once again proves that it is impossible to tear a people away from the land, from its roots, that such actions can be equated to brutal murder.

The main ideological character of the story is the old woman Daria. This is the person who remained devoted to his homeland until the end of his life, until the last minute. This woman is a kind of guardian of eternity. Daria is a true national character. The writer himself is close to the thoughts of this sweet old woman. Rasputin gives her only positive traits, simple and unpretentious speech. It must be said that all the old residents of Matera are described by the author with warmth. But it is through Daria’s voice that the author expresses his judgments regarding moral problems. This old woman concludes that the sense of conscience has begun to be lost in people and society. “There are a lot more people,” she reflects, “but my conscience is the same... our conscience has grown old, she has become an old woman, no one looks at her... What about conscience if this happens!”

Rasputin's characters directly associate the loss of conscience with a person's separation from the earth, from his roots, from age-old traditions. Unfortunately, only old men and women remained faithful to Matera. Young people live in the future and calmly part with their small homeland. Thus, two more problems are touched upon: the problem of memory and the peculiar conflict of “fathers” and “children”.

In this context, “fathers” are people for whom breaking with the earth is fatal; they grew up on it and absorbed love for it with their mother’s milk. This is Bogodul, and grandfather Yegor, and Nastasya, and Sima, and Katerina. “Children” are those youth who so easily left the village to the mercy of fate, a village with a history of three hundred years. This is Andrey, Petrukha, Klavka Strigunova. As we know, the views of “fathers” differ sharply from the views of “children,” therefore the conflict between them is eternal and inevitable. And if in Turgenev’s novel “Fathers and Sons” the truth was on the side of the “children”, on the side of the new generation, which sought to eradicate the morally decaying nobility, then in the story “Farewell to Mother” the situation is completely opposite: young people are ruining the only thing that makes it possible preservation of life on earth (customs, traditions, national roots). This idea is confirmed by Daria’s words, expressing the idea of ​​the work: “The truth is in memory. He who has no memory has no life.” Memory is not just events recorded in the brain, it is a spiritual connection with something. The writer makes you wonder whether a person who left his native land, broke with his roots, will be happy, and, by burning bridges, leaving Matera, will he not lose his soul, his moral support? Lack of connection with one’s native land, readiness to leave it and forget it like a “bad dream”, disdainful attitude towards one’s small homeland (“It should have been drowned a long time ago. There is no smell of living things... not people, but bugs and cockroaches. They found a place to live - in the middle of the water ... like frogs”) does not characterize the heroes from the best side.

The outcome of the work is deplorable... An entire village disappeared from the map of Siberia, and with it the traditions and customs that over the centuries shaped the human soul, his unique character, and were the roots of our lives.

V. Rasputin touches on many moral issues in his story, but the fate of Matera is the leading theme of this work. Not only is the theme traditional here: the fate of the village, its moral principles, but also the characters themselves. The work largely follows the traditions of humanism. Rasputin is not against change, he does not try in his story to protest against everything new, progressive, but makes one think about such transformations in life that would not destroy the humanity in a person. Many moral imperatives are also traditional in the story.

“Farewell to Matera” is the result of an analysis of one social phenomenon, carried out on the basis of the author’s memories. Rasputin explores the branchy tree of moral problems that this event exposed. Like any humanist, in his story he addresses issues of humanity and solves many moral problems, and also, which is not unimportant, establishes connections between them, demonstrates the inseparability and dependence on each other of the processes occurring in the human soul.

"Money for Maria"

For many of us, the concepts of “humanity” and “mercy” are inextricably linked. Many people even identify them (which, however, is not entirely true). The humanist writer could not ignore the topic of mercy, and it is reflected in the story “Money for Mary.”

The plot of the work is very simple. An emergency occurred in a small Siberian village: the auditor discovered a large shortage from the store clerk Maria. It is clear to both the auditor and fellow villagers that Maria did not take a penny for herself, most likely becoming a victim of the accounting neglected by her predecessors. But, fortunately for the saleswoman, the auditor turned out to be a sincere person and gave five days to repay the shortfall. Apparently, he took into account both the woman’s illiteracy and her selflessness, and most importantly, he took pity on the children.

Such a seemingly completely everyday situation reveals human characters quite well. Maria's fellow villagers take a kind of test of mercy. They are faced with a difficult choice: either help out their conscientious and always hard-working fellow countrywoman by lending her money, or turn away, not notice the human misfortune, preserving their own savings. Money here becomes a kind of measure of human conscience. The work reflects the author’s perception of various kinds of misfortunes. Rasputin's misfortune is not just a misfortune. This is also a test of a person, a test that reveals the core of the soul. Here everything is revealed to the bottom: both good and bad - everything is revealed without concealment. Such crisis psychological situations organize the dramaturgy of the conflict both in this story and in other works of the writer.

Maria's family always treated money simply. Husband Kuzma thought: “yes - good - no - oh well.” For Kuzma, “money was patches that were put on the holes necessary for living.” He could think about stocks of bread and meat - it was impossible to do without this, but thoughts about stocks of money seemed funny, clownish to him, and he brushed them aside. He was happy with what he had. That is why, when trouble knocks on his house, Kuzma does not regret the accumulated wealth. He thinks about how to save his wife, the mother of his children. Kuzma promises his sons: “We will turn the whole earth upside down, but we will not give up our mother. We are five men, we can do it.” The mother here is a symbol of the bright and sublime, incapable of any meanness. Mother is life. Protecting her honor and dignity is what is important to Kuzma, not money.

But Stepanida has a completely different attitude towards money. She can’t bear to part with a penny for a while. School director Evgeniy Nikolaevich also has difficulty giving money to help Maria. It is not a feeling of compassion for his fellow villager that guides his action. He wants to strengthen his reputation with this gesture. He advertises his every step to the whole village. But mercy cannot coexist with rude calculation.

Thus, in the person of the head of the family, we see an ideal that we need to emulate when resolving questions about wealth and its influence on people’s consciousness, about family relationships, the dignity and honor of the family. The author again demonstrates the inextricable connection of several moral problems. A minor deficiency allows you to see the moral character of representatives of society, reveals different facets of the same quality of a person.

"Deadline"

Valentin Grigorievich Rasputin is one of the called masters of “village prose”, one of those who continues the traditions of Russian classical prose, primarily from the point of view of moral and philosophical problems. Rasputin explores the conflict between a wise world order, a wise attitude towards the world and an unwise, fussy, thoughtless existence. The search for the roots of this conflict in the 1970 story “The Deadline.”

The narration is led, on the one hand, by an impersonal author-narrator, depicting the events in the house of the dying Anna, on the other hand, it is narrated as if Anna herself, her views, thoughts, and feelings are conveyed in the form of improperly direct speech. This organization of the story creates a feeling of dialogue between two opposing life positions. But in fact, the author’s sympathies are clearly on Anna’s side; the other position is presented in a negative light.

Rasputin's negative position belongs to the author's attitude towards Anna's already adult children, who gathered in the house of their dying old mother to say goodbye to her. But you can’t plan the moment of death, you can’t calculate it in advance, like a train stopping at a station. Contrary to all forecasts, old woman Anna is in no hurry to close her eyes. Her strength weakens and then returns again. Meanwhile, Anna’s children are primarily occupied with their own concerns. Lyusya hurries to sew herself a black dress while her mother is still alive in order to look appropriate at the funeral; Varvara immediately begs for this unsewn dress for her daughter. Sons Ilya and Mikhail thriftyly buy a box of vodka - “the mother must be seen off properly” - and start drinking in advance. And their emotions are unnatural: Varvara, as soon as she arrived and opened the gate, “as soon as she turned herself on, she began to cry: “You’re my mother!” Lucy “also shed a tear.” All of them - Ilya, and Lyusya, and Varvara, and Mikhail - have already come to terms with the inevitability of loss. The unexpected glimmer of hope for recovery does not cause them relief, but rather confusion and frustration. It was as if their mother had deceived them, as if she had forced them to waste their time and nerves, and had mixed up their plans. So the author shows that the spiritual world of these people is poor, they have lost their noble memory, are concerned only with petty matters, have become divorced from Nature (the mother in Rasputin’s story is the nature that gives life). Hence the author’s disgusted detachment from these heroes.

Rasputin wonders why Anna’s children have such thick skin? They weren't born that way, were they? And why did such a mother produce soulless children? Anna recalls the past, the childhood of her sons and daughters. He remembers when Mikhail’s first child was born, how happy he was, he burst into his mother with the words: “look, mother, I am from you, he is from me, and someone else is from him...”. Initially, the heroes are able to “sensitively and acutely be surprised at their existence, at what surrounds them at every step,” they are able to understand their participation in the “endless goal” of human existence: “so that the world never grows poor without people and grows old without children.” But this potential was not realized; the pursuit of momentary benefits eclipsed the whole light and meaning of life for Mikhail, Varvara, Ilya and Lyusa. They have no time and do not want to think; they have not developed the ability to be surprised by existence. The writer explains the main reason for moral decline, first of all, by the loss of a person’s spiritual connection with his roots.

In this story, there is one image that is completely opposed to the images of Anna’s insensitive children - this is the youngest daughter Tanchor. Tanya retained the consciousness of her connection with the whole world, coming from childhood, and a grateful feeling for her mother, who gave her life. Anna remembers well how Tanchora, diligently combing her head, said: “You’re doing great for us, Mom.” - “What else is this?” - the mother was surprised. “Because you gave birth to me, and now I live, and without you no one would have given birth to me, so I would never have seen the world.” Tatyana differs from her brothers and sisters in her sense of gratitude to her mother, to the world, hence all the best, morally bright and pure, sensitivity to all living things, joyful liveliness of disposition, tender and sincere love for her mother, which neither time nor distance can extinguish . Although she is also capable of betraying her mother, she did not even consider it necessary to respond to the telegram.

Anna Stepanovna never lived for herself, never shied away from duty, even the most burdensome one. No matter whoever was close to her in trouble, she looked for her guilt, as if she had overlooked something, was too late to intervene in something. There is a conflict between pettiness, callousness and a sense of responsibility for the whole world, a certain selflessness and kindness. The author's position is obvious; he is on the side of the rich spiritual world. For Rasputin, Anna is the ideal image. The writer said: “I have always been attracted to images of ordinary women, distinguished by selflessness, kindness, and the ability to understand another.” The strength of the characters of Rasputin's favorite heroes lies in wisdom, in the people's worldview, and in people's morality. Such people set the tone and intensity of the spiritual life of the people.

In this work, the connection of several moral problems is less noticeable. The main conflict of the work, however, can be associated with the conflict between “fathers” and “children”. It should be noted that the problem of crushing the soul posed by the author is very large-scale and deserves consideration in a separate work.

"Live and Remember"

This story was born from the contact between the writer’s experiences in childhood and his present-day thoughts about the village during the war years. And again, as in “Money for Maria” and in “The Deadline,” Valentin Rasputin chooses a critical situation that tests the moral foundations of the individual.

Did the main character know at that very moment when, succumbing to mental weakness, he jumped on a train heading not to the front, but from the front to Irkutsk, what this action would turn out to be for him and his loved ones? Perhaps he guessed, but only vaguely, indistinctly, for fear of fully thinking through everything that was going to happen after this, after this.

Every day that Andrei avoided war did not delay, but brought closer the tragic outcome. The inevitability of tragedy is contained in the very plot of “live and remember,” and all pages of the story breathe with a foreboding of tragedy. Rasputin does not lead his hero to a choice, but begins with a choice. From the first lines, Guskov is at a fork in the road, one of which leads to war, towards danger, while the other leads away from war. And by giving preference to this second road, he sealed his fate. He disposed of it himself.

Thus, one of the most important moral problems arises in the author’s work - the problem of choice. The work shows that one should not succumb to temptation (even such a “high” one as meeting with family) or give in to slack. The hero is lucky on his way home; in the end he achieves his goal without being put on trial. But, having avoided the tribunal, Guskov still did not escape the trial. And from punishment, perhaps more severe than execution. From moral punishment. The more fantastic the luck, the more clearly in “Live and Remember” is the roar of an impending disaster.

Conclusion

Valentin Rasputin has already traveled a long creative path. He wrote works that raise a huge number of moral problems. These problems are very relevant in modern times. What is especially noteworthy is that the author does not look at the problem as an isolated, separate phenomenon. The author explores the interconnection of problems by studying the souls of people. Therefore, you can’t expect simple solutions from him.

After Rasputin’s books, the idea of ​​life becomes somewhat clearer, but not simpler. At least some of the many schemes with which the consciousness of any of us is so well equipped, in contact with this artistically transformed reality, reveal their approximateness or inconsistency. The complex in Rasputin remains complex and ends in a complex way, but there is nothing deliberate or artificial about it. Life is truly replete with these complexities and an abundance of relationships between phenomena.

Valentin Rasputin, with everything he wrote, convinces us that there is light in a person and it is difficult to extinguish it, no matter what circumstances happen, although it is possible. He does not share a gloomy view of man, of the original, undaunted “depravity” of his nature. In Rasputin's heroes and in himself there is a poetic feeling of life, opposed to the base, naturalistic, its perception and depiction. He remains faithful to the traditions of humanism to the end.

Used literature and other sources:

1. V.G. Rasputin “Live and Remember. Stories" Moscow 1977.

2. F.F. Kuznetsov “Russian literature of the 20th century. Sketches, essays, portraits" Moscow 1991.

3. V.G. Rasputin “Down and Upstream. Stories" Moscow 1972.

4. N.V. Egorova, I.V. Zolotareva “lesson developments in Russian literature of the 20th century” Moscow 2002.

5. Critical materials of Internet libraries.

6. www.yandex.ru

7. www.ilib.ru

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