Natives of the Russian hinterland from time immemorial glorified the Russian land, mastering the heights of world science and culture. Let us recall at least Mikhailo Vasilyevich Lomonosov. So are our contemporaries Viktor Astafiev, Vasily Belov. Valentin Rasputin, Alexander Yashin, Vasily Shukshin, representatives of the so-called "village prose", are rightfully considered masters of Russian literature. At the same time, they forever remained true to their village birthright, their "small homeland."
I have always been interested in reading their works, especially stories and novels by Vasily Makarovich Shukshin. In his stories about fellow countrymen, one sees a great writer's love for the Russian village, anxiety for today's man and his future fate.
Sometimes they say that the ideals of Russian classics are too far from modernity and inaccessible to us. These ideals cannot be inaccessible to the schoolboy, but they are difficult for him. Classics - and this is what we are trying to convey to the minds of our students - is not entertainment. The artistic development of life in Russian classical literature has never turned into an aesthetic occupation, it has always pursued a living spiritual and practical goal. V.F. Odoevsky formulated, for example, the goal of his writing work as follows: “I would like to express in letters that psychological law, according to which not a single word uttered by a person, not a single deed is forgotten, does not disappear in the world, but certainly produces some kind of action; so that responsibility is connected with every word, with every seemingly insignificant act, with every movement of the human soul.
When studying the works of Russian classics, I try to penetrate into the "hidden places" of the student's soul. Here are some examples of such work. Russian verbal and artistic creativity and the national sense of the world are so deeply rooted in the religious element that even currents that have outwardly broken with religion still turn out to be internally connected with it.
F.I. Tyutchev in the poem "Silentium" ("Silence!" - Lat.) speaks of special strings human soul who are silent in everyday life, but clearly declare themselves in moments of liberation from everything external, worldly, vain. F.M. Dostoevsky in The Brothers Karamazov recalls the seed sown by God into the soul of man from other worlds. This seed or source gives a person hope and faith in immortality. I.S. Turgenev sharper than many Russian writers felt the shortness and fragility human life on earth, the inexorability and irreversibility of the rapid run of historical time. Sensitive to everything topical and momentary, able to grasp life in its beautiful moments, I.S. Turgenev possessed at the same time the generic feature of any Russian classic writer - the rarest sense of freedom from everything temporary, finite, personal and egoistic, from everything subjectively biased, clouding visual acuity, breadth of sight, fullness of artistic perception. In troubled years for Russia, I.S. Turgenev creates a poem in prose "Russian language". The bitter consciousness of the deepest national crisis experienced by Russia at that time did not deprive I.S. Turgenev of hope and faith. Our language gave him this faith and hope.
So, the image of the Russian national character distinguishes Russian literature as a whole. The search for a hero who is morally harmonious, clearly imagining the boundaries of good and evil, existing according to the laws of conscience and honor, unites many Russian writers. The twentieth century (the special second half), even more acutely than the nineteenth, felt the loss moral ideal: the connection of times broke up, the string burst, which was so sensitively caught by A.P. Chekhov (the play "The Cherry Orchard"), and the task of literature is to realize that we are not "Ivans who do not remember kinship." I would especially like to dwell on the image of the people's world in the works of V.M. Shukshin. Among the writers of the late twentieth century, it was V.M. Shukshin turned to the people's soil, believing that people who retained their "roots", albeit subconsciously, but were drawn to the spiritual principle inherent in the people's consciousness, contain hope, testify that the world has not yet died.
Speaking about the image of the people's world V.M. Shukshin, we come to the conclusion that the writer deeply comprehended the nature of the Russian national character and showed in his works what kind of person the Russian village yearns for. About the soul of a Russian person V.G. Rasputin writes in the story "The Hut". The writer draws readers to the Christian norms of a simple and ascetic life and, at the same time, to the norms of brave, courageous doing, creation, asceticism. It can be said that the story returns readers to the spiritual space of an ancient, maternal culture. The tradition of hagiographic literature is noticeable in the narrative. Severe, ascetic Agafya's life, her ascetic labor, love for her native land, for every tussock and every blade of grass, which erected "mansions" in a new place - these are the moments of content that make the story of the life of a Siberian peasant woman related to life. There is a miracle in the story: despite the ", Agafya, having built a hut, lives in it "without one year for twenty years", that is, she will be awarded longevity. Yes, and the hut, put up by her hands, after the death of Agafya will stand on the shore, will long years keep the foundations of centuries-old peasant life, will not let them perish in our days.
The plot of the story, the character of the main character, the circumstances of her life, the history of the forced relocation - everything refutes the common ideas about the laziness and commitment to drunkenness of a Russian person. The main feature of Agafya's fate should also be noted: "Here (in Krivolutskaya) the Agafya family of the Vologzhins settled from the very beginning and lived for two and a half centuries, taking root in half a village." This is how the story explains the strength of character, perseverance, asceticism of Agafya, who erects her “mansion”, a hut, in a new place, after which the story is named. In the story of how Agafya put her hut in a new place, the story of V.G. Rasputin comes close to the life of Sergius of Radonezh. Especially close - in the glorification of carpentry, which was owned by Agafya's voluntary assistant, Savely Vedernikov, who earned a well-defined definition from his fellow villagers: he has "golden hands." Everything that Savely's "golden hands" do shines with beauty, pleases the eye, glows. Damp wood, and how the board lay down to the board on two shiny slopes, playing with whiteness and novelty, how it shone already at dusk, when, having tapped the roof for the last time with an ax, Savely went down, as if the light streamed over the hut and she stood up in full growth, immediately moving into the residential order.
Not only life, but also a fairy tale, a legend, a parable respond in the style of a story. As in a fairy tale, after the death of Agafya, the hut continues their common life. The blood connection between the hut and Agafya, who "endured" it, does not break, reminding people to this day of the strength and perseverance of the peasant breed.
At the beginning of the century, S. Yesenin called himself "the poet of the golden log hut." In the story of V.G. Rasputin, written at the end of the 20th century, the hut is made of logs that have darkened with time. Only there is a glow under the night sky from a brand new plank roof. Izba - a word-symbol - is fixed at the end of the 20th century in the meaning of Russia, homeland. The parable layer of the story by V.G. Rasputin.
So, moral problems traditionally remain in the center of attention of Russian literature, our task is to convey to students the life-affirming foundations of the works under study. The image of the Russian national character distinguishes Russian literature in search of a hero who is morally harmonious, who clearly imagines the boundaries of good and evil, existing according to the laws of conscience and honor, unites many Russian writers.
Artistic research of Soviet poetry of the 50s - 80s.
In the history of Russian literature, beginning with The Tale of Igor's Campaign, ancient epics, folk tales and songs, the creations of outstanding poets constitute a huge and unique spiritual wealth.
Truly amazing variety of poetic genres, artistic styles, creative individuals: Lomonosov and Derzhavin, Pushkin and Lermontov, Tyutchev and Nekrasov, Baratynsky and Fet, Blok and Bryusov, Mayakovsky and Yesenin, Akhmatova and Pasternak, Aseev and Zabolotsky, Tikhonov and Tvardovsky.
How to explain the undying value of genuine works of poetic art? The fact is that true poets never separated their feelings and experiences, thoughts and thoughts from everything that their Motherland lived on, from the anxieties, sorrows and hopes of their fatherland and people, from the spiritual aspirations of the best people of their time, from eternal questions, long since worried humanity.
The impact of poetry on the spiritual sphere of the human personality is multifaceted: through the poems of great poets, there is an artistic comprehension of the world and time, folk life and self-consciousness, the discovery of the depths of the human spirit.
“I know the power of words, I know the words of the alarm,” wrote Vladimir Mayakovsky about the effectiveness of the verse word, about its “mighty music”, about the great toiling poetry.
This secret of the power of verse, which gives birth to a poet in the soul, is captured in its own way in the lines of Alexander Blok: “Sound is approaching.
And, submissive to the aching sound, The soul is getting younger.
Poems about love and nature, about life and death, about the eternal renewal of the surrounding world, written hundreds of years ago, continue to excite us today.
The eternal themes and motifs of art were never born outside of time and space, they invariably bore the imprint of the specific historical conditions of life. This is what gives them the uniqueness and power of emotional impact on subsequent generations. The eternal in poetry does not exist outside of time. About this - the famous lines of Boris Pasternak:
Don't sleep, don't sleep artist
Don't give in to sleep.
You are a hostage of eternity
Time is a prisoner.
Relying in its creative search on the great traditions of Russian and moral classics, Soviet poetry of the 50s-80s is marked by inspired innovation, due to the time itself, the era of building an unprecedented society in history, active participation in socialist creation, in the formation of a man of modern times.
We are faced with the task of not only tracing the entire poetic process in the history of poetry in the period of the 50s-80s, but also comprehending that difficult, dramatic time. Artistic research in the poetry of that time, the most promising lines of development of its genres and styles, relied on the entire socio-political, moral and aesthetic experience of the era, on the traditions of world and domestic, especially Soviet poetic classics.
The multinational Soviet poetry of the 50s-80s is the result of the historical experience of the entire Soviet culture, creative interaction and mutual enrichment of many literatures of the peoples of the country.
A direct appeal to the topical and eternal themes of poetry of that time, to the most essential problems of civic consciousness and historicism of artistic thinking, to the issues of the movement of poetic genres, traditions and innovation, artistic searches and discoveries will make it possible to draw generalizations and conclusions about the main ways of development and patterns of poetry at the stage "developed socialism" and its impact on man.
Already at the beginning, and especially in the second half of the 50s, new trends emerged in poetry. Responding to the demands of the time, poets sought to reflect the state of spiritual renewal and upsurge that society was experiencing.
It was at this time that interest in the work of A. Tvardovsky, V. Lugovoy, N. Zabolotsky, N. Aseev, A. Prokofiev, Ya. Smelyakova, N. Ushakov, K. Vanshenkin, S. Orlov, E. Vinokurov, E. Evtushenko, A. Voznesensky, R. Rozhdestvensky, V. Tsybin, R. Kazakova, B. Akhmadulina, N. Matveeva, and the circle of her lovers and admirers expanded. Poems and poems attracted readers and critics.
“A variety of topics and topical issues drawn from life itself, an appeal to the essential aspects of the spiritual world modern man, the search for new artistic and visual means of verse - all this was typical for poets who spoke at the turn of the 50s - 60s, ”writes V.A. Zaitsev.
The poetic word was actively heard at the evenings, on radio and television. Poetry Days have become a tradition.
However, the main thing in this interest in poetry was determined not by the whim of fashion, but by a high and exacting love for everything truly significant in art. This determined the main lines of development of poetry.
The tasks set by life, the people, the decisions of the party before art, in particular before poetry, required an appeal to what was the lifeblood of creativity - to the present. It is no coincidence that this word itself literally did not leave the pages of newspapers and magazines in those years.
The poetic discovery of modernity has been the task of poets of all generations. Speaking about the present day, the poets looked for its origins in the heroic past. Modernity is inseparable from history.
Among the poems about the heroic past, a special place was occupied by works whose authors themselves were contemporaries, witnesses and participants in great events.
“Remember our young years!” - called N. Aseev. Re-experiencing the fiery days of the revolution. In his poems, the “Time of Lenin”, so dear to the heart, came to life, “our October is an amazing holiday, a celebration of the national soul ...”.
Through the decades, M. Svetlov saw “over the troubled Neva” a “frozen sentry” standing at a Red Guard post - a great and simple man from a legend.
A. Prokofiev addressed his peers, sailors of the first revolutionary years: “Get up, great time! ..”, “Stay in the winged memory!”. His characters come to life in "young, immortal beauty".
The ability to deeply reveal the connection between modernity and the past, to express the enduring meaning of today's events is not given to every poet.
Poetry, expressed in the form of lyrical memories of revolutionary youth and at the same time all addressed to young generation 50s, called to continue the work of the fathers.
The poetic lines of the 50s are full of close attention to the present, to the present day with its acute problems, contradictions and conflicts, with its everyday life and heroics.
“And to keep up, straining to passion, with pain, with anxiety for this day,” A. Tvardovsky called.
Poems were born in direct connection with life, rising new. Poets went to grandiose construction sites, visited the virgin lands, traveled a lot around the country. In the verses of the 50s, in the words of M. Gorky, “the heroic poetry of labor” is revealed, pictures of the creative transforming activity of people appear, a reflection of their spiritual movements, thoughts, experiences.
Robert Rozhdestvensky lived and worked at the North Pole-6 station for several months.
The Far East became the place of "poetic birth" of R. Kazakova.
From trips around the country, A. Voznesensky brought his “Report from the opening of the hydroelectric power station” and “Poems from a Siberian notebook”.
B. Akhmadulina - poems-sketches "From the Siberian notebook".
A. Tvardovsky - "Poems about Siberia"
Yu. Pankratov - "Kazakhstan notebook".
Trips around the country provided material for works not only about the creative work of the Soviet people, but most importantly - about the spiritual wealth of the new man, the complexity and diversity of his inner world.
The book of poems by Yaroslav Smelyakov "Conversation about the main thing" is a direct appeal to the present, to the youth entering into life. The thought of the kinship of generations runs through the motive of the poems. The poet peers into the faces of Komsomol members traveling to the distant Angarsk construction site and in their appearance and spiritual qualities he sees the features of his peers of the 30s:
Not that there is no difference, but in the biggest we are akin, and our main signs are the same for two generations.
Lively characters of the youth “strong Siberian boy”, young Galya, with touching excitement, going to her first ball in the Komsomol club. All of them are brought together by the warmth of the author's view and attitude.
In the artistic development of current life problems that confronted the art of that time had its own difficulties and costs. A. Tvardovsky accurately spoke about this, focusing on the problem of the quality of works:
“Our literature is going through a most beneficial period, when the demands of ideological and artistic quality, high craftsmanship, and perfection of form are made with particular urgency.”
However, with all the difficulties on the way of mastering the new in the poems of the best poets of the 50s, one can find the affirmation of the moving modernity, the beauty of human achievement, the historical connection and the continuity of generations. During these years, the most important social, moral, and aesthetic problems were posed in a deeply original, creative way. They revealed a complex, rich and diverse spiritual world person.
Since the beginning of the 60s, the scientific and technological revolution has been rapidly developing, invading all spheres of life and giving rise to many new problems. Arguments arise about the scientific revolution and literature.
The discussions about "physicists" and "lyricists" that took place at the turn of the 1950s and 1960s convincingly showed that there is no reason to oppose science and poetry. The question of the place and purpose of literature, art, their role in the formation of the spiritual myrrh of man became clearer in the course of this discussion. “... Every day we are more and more convinced that the almost fantastic development of technology does not cause a weakening, but quite the opposite - an increase in interest in art, including poetry,” wrote N. Rylenkov in the article “Living Flowers poetry."
The depiction of the creative labor of the working class occupies a prominent place in the works, primarily of those authors whose life experience was acquired in the working environment. Who from youth, like I, Smelyakov, B. Ruchiev, you. Fedorov and L. Tatyanicheva, went through the school of labor hardening. So one of the later poems of Boris Ruchyev "Eternal Monument" sounds like a heartfelt appeal to the Industry itself - eternal city the youth of the poet. These verses, with all their spirit and passion, affirm the blood relationship of a person and his deeds, the inseparability of “spiritual right” and “iron debt” in him. The author's monologue-appeal reveals the idea of the immortality of a simple worker-master in his creation, in the world he creates:
We both became history
Although our age is not equal:
You are a world of concrete and steel
I am your master, but a man.
In poems about the labor of the working class, the poets emphasized the moral and aesthetic meaning of the theme, evicted the beauty of creative deeds and high skill.
Tvardovsky's idea of a person, his concept of the heroic, is based on the experience of history, comprehended in the light of the events of the 60s. The measure of human courage, the criterion of heroism is the poet's accomplished feat "in the name of our and future days." This is reflected in his poems about the feat of the “scout of the universe”, “To the Cosmonaut”, “In Memory of Gagarin”.
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An important role in understanding the main problems and ways of developing poetry in the 60s was played by discussions about citizenship fiction. Rejecting narrow and simplistic interpretations of citizenship, allegedly associated only with certain topics and genres (for example, with lyrical journalism), poets and critics noted that it means "definiteness of class positions, social activity, the exaltation of the human personality in various spheres of spiritual and moral life" - emphasized A. Mikhailov.
In 1969, many poets joined the conversation about citizenship, relying on the traditions of Russian and Soviet poetry. So Y. Smelyakov wrote about this: “Citizenship is for us the main measure of poetry ... Time requires more and more new poems, songs, poems of a social nature, national scale ... Let love poems be written and widely published (only without the slightest taste of vulgarity! ), may the landscape lyrics inspired by thought live and flourish. I only wish that in these verses the pulse of our time beat and its signs, its features could be seen.
In the poetry of the 60s, the breadth and richness of themes and motives, the depth and variety of themes are noted, in the best poems and poems of those years, the actual and eternal are deeply and distinctively refracted, the cosmic exploits and earthly deeds of man, his work and creativity find a kind of embodiment. The themes of nature and love, life and death, war and peace sound in a new way. Poetic works reflect and carry the anxieties, sorrows and joys of a person of that time, of all the swift and complex life.
Reflections on the course of life, based on each author's peculiar philosophical and poetic concept, are uniquely and individually revealed:
In the later poems of N. Aseev - "Lad", A. Tvardovsky - "From the lyrics of these years", I Smelyakova - "Day of Russia".
In "Selected Lyrics" by S. Marshak.
In the books of A. Akhmatova - "The Run of Time", N. Tikhonov - "Times and Roads", M. Dudin - "Time", S. Orlov - "Days".
In the poetry of the 50s - 80s, patriotic and international pathos found a diverse artistic embodiment. The theme of the Motherland, its history is penetratingly revealed in the poems of the poets of that time. The image of the Motherland, scattered “between two oceans”, its historical past, acted in a dialectical connection, in a difficult, internally contradictory movement towards the future.
In the heartfelt poetic thoughts and experiences of a contemporary of the 60s, the complex, dramatic paths of history are revealed, the harsh memory of the Great Patriotic War sounds.
The theme of memory and duty to those who died in the fight against fascism is widely disclosed in the poems of A. Tvardovsky: "I know, no fault of mine ...", "They lie, deaf and dumb ...". And over everything rises a life-affirming note of the victory of humanity, the triumph of human will and reason, conscience and truth. Therefore, his feelings are embodied in a simple and serious, coming from the heart, capacious and aphoristic word.
The theme of nature has become the most important subject of philosophical and poetic reflection and research for many authors. She permeated the late lyrics of A. Akhmatova and S. Marshak, B. Pasternak and many other poets.
In the work of Nikolai Zabolotsky, the problem of interaction between man and nature is one of the most important. Nature attracts him not as an object of admiration, a landscape background, but as a complex controversial object of poetic research. Recognition of its secrets becomes a philosophical theme and the sphere of drama of his work. Mastering the art of poetic analysis and synthesis to a high degree, he was able to subtly convey the spirituality of nature, to show the harmony of man with it:
And the clearer the details become
objects located around
The more immense are the distances
River meadows, backwaters and bends.
The unity of man and the world - living, sounding, bright, tangibly integral in its movement - is revealed in the late lyrical work of Boris Pasternak. In his poems, the plastic, pictorial and musical beginning is clearly manifested, they develop the philosophical motifs of the lyrics, dating back to the traditions of Russian poetic classics. Eternal themes appear in the poet in their spiritual novelty and originality. Nature, love, art, man are inextricably fused in the fabric of the verse - the "Living Miracle" of the boundless world and the "secretly luminous layer of the heart" form one whole.
Expressive example of feeling native land, conveyed through a capacious figurative detail, raised by the poet to a degree of great generalization, is contained in A. Tvardovsky's poem "Birch". Tvardovsky managed to see in a new way and embody in his poetic thoughts this traditional for the Russian landscape and folk poetry image:
At the exit from the Kremlin courtyard,
Behind the ledge of the Spasskaya gate tower,
Magpie black and white coloring
Ripple - suddenly - the deflection of its trunk.
This unprepossessing birch, which inadvertently grew up in the capital, causes some kind of aching sadness and deep thoughts. In the change of seasons, she happened to “turn green again, and again lose her leaf, and show off in frosty silver”, listen not only to the peaceful noise of the capital, but also the alarming rumble in the sky of front-line Moscow “and in the rings of years to keep a silent countdown to everything that will sweep , will flow ... ". And here is a generalization: the poet, who made this birch a motionless and silent witness to human celebrations and disasters, turns his gaze into the soul of every person:
No, our days are not traceless in the world,
Concealing hope or threat.
Happen to be in the Kremlin - come and take a look
On this inconspicuous birch.
What is - you will see everything,
Your stock of curiosities will replenish your little,
But something will remind you again
What can never be forgotten.
In these verses, human destiny is directly connected with the historical life of the motherland and nature, the memory of the fatherland: they reflect and refract the problems and conflicts of the era in their own way.
A. Prokofiev's poems about Russia capture the history of his native land and its nature, the spiritual wealth of people and the colorfulness of Russian speech. From the pages of his books, the ancient and eternally young Motherland-Rus rises “in the sparkle of new days”, in a tense movement towards the future.
Nature has never left poets indifferent. Close attention to the life of nature, inexhaustible love for it were inherent in A. Prokofiev. Like other poets, N. Aseev, V. Lugovoi, we will also find “The Four Seasons” in him.
Alexander Tvardovsky vigilantly and reverently noticed the phenomena of nature: "as after the March snowstorms, fresh, transparent and light, in April - the birch forests suddenly turned pink in a willow." The poet hears "an indistinct conversation or hubbub in the tops of the age-old pines", the lark, which heralded spring, reminds him of a distant time of childhood.
Alexander Yashin, in poems about the Motherland, reflects on the fact that it is not enough to sing about “birch trees, rivers, the expanse of its fields.” The motherland is, first of all, people, near and far, sometimes in dire need of "warmth, participation, brotherly kind words." In this he sees the paramount task of poetry.
In A. Yashin's poems, one can see a special attention to the prosaic details of life, to the "earthly" details of human existence, character, psychology, and everyday life. This is also indicative of other poets associated with the "village theme". The work of N. Rylenkov and V. Bokov, N. Tryapin and N. Rubtsov is connected in its very foundations with the labor, moral, folk-poetic sphere of rural life.
The acutely complex, sometimes unresolved problems of the village became not just a “topic” and “material”, but a secret concern, internal nerve, the heartache of many serious, truly civil and deeply lyrical works. Each author looked intently, first of all, into the life of the region with which he was associated from an early age. V. So, Soloukhin's "country of childhood" was Vladimirshchina, Tsybina - Semirechye, The work of A. Yashin and S. Vikulov is connected with the Vologda land. In Vikulov's poems, one can feel a passion for describing village life, emphasizing power and the call of the earth. In his collection "Bread and Salt" the characteristic headings of excerpts are "Hut", "Earth", "Windows to the dawn".
Nikolai Rubtsov's "village theme" sounds in a different tone full of inner drama. In the context of rapid and irreversible changes, the advance of the city on the countryside, he showed keen attention to what is leaving, and, more broadly, to the moral origins and foundations of folk life, to poetry and beauty. village life, it was a kind of nostalgia for the outgoing, lost, past:
Trees, huts, a horse on the bridge,
Blooming meadow - everywhere I yearn for them.
A keen sense of the collision of the old and the new, characteristic of the poet, is clearly expressed in the poem "Frontiers":
Ah, the city
The village is ramming!!
Ah something
It's going to be scrapped!
Everything torments me
Between city and country...
The desire to carefully preserve and protect the moral and aesthetic values associated with natural and historical existence is clearly seen in the works of many poets:
A. Tvardovsky and Y. Smelyakov, B. Ruchyov, V. Fedorov, S. Orlov and V. Soloukhin. The focus of the authors of the poems is man and the earth, a deeply felt idea that our spiritual min is inseparable from nature.
In the 60s, poets of different generations and different artistic and stylistic orientations reflected on the growing menacing danger for all living things around us.
These motifs are revealed in a grotesque, paradoxical, tragically expressive way in A. Voznesensky's poems "Grove", "Beaver's Lament", "Evening Song", "Do not touch the man, tree! .. Do not hit the man, bird!" - in the forced appeals-repetitions, the idea that, destroying the nature around them, people destroy and kill the best in themselves, exposing the future on Earth to mortal danger.
In the poems of the late 60s - early 70s, anti-war, humanistic pathos is natural. They recognized M. Lukonin's poem "The Charred Border", included in the book "Necessity".
The same motifs sound excitedly and passionately in the cycles
K. Simonov - "Vietnam, the winter of the seventieth", R. Rozhdestvensky -
"In the Farthest West", E. Yevtushenko - "Road number one".
In the late 60s and early 70s, significant problems modern life were far from being fully reflected in poetry, which led to a weakening of its popularity among readers.
An analysis of the state of affairs in poetry during these years, an assessment and description of its most significant phenomena and processes, given at writers' congresses and by critics, were the result of discussions and reflections of the poets themselves. Reflections on the tasks of poetry and the mission of the poet are heard in the verses of many poets.
The poets of the 70s strive to take into account all the most complex "invisible coordinates" of the feelings and mind of their contemporary, enriched by the experience of history, science, and art.
In their poems, they reveal the attitude of a person to the Motherland, nature, Earth, people, humanity. The feeling of the fullness of vital connections with the world, comprehended in tireless creative work, is the main thing in their self-consciousness.
Speaking about the features of multinational Soviet poetry, about the interaction in it of the poetry of large and small peoples, the poetry of the native people, the famous Avar poet R. Gamzatov noted:
“We began to think broader, began to feel deeper.”
In many poetic works, the author's thoughts, experiences, or plot-narrative motifs are respectively expressed in the form of a lyrical monologue on the one hand, and a ballad, poetic story or portrait on the other. Often there is a renewal of creative genres and strophic forms that have a long history: odes, sonnets, elegies.
The elegiac poems by A. Akhmatova are saturated with deep psychologism. The fine beginning, subject detailing, texture, landscape paintings are subordinated in them to the development of experience, the expression of a sad and enlightened elegiac feeling.
A peculiar example of an elegy is one of last poems A. Tvardovsky:
But, my God, and yet it's not true,
That life over the years goes all to wedge,
What is today, yes, conditionally, tomorrow,
Yes, definitely a sigh at the end of one
No, he would be unbearably scary,
Destiny of the earth, do not always be with us
Neither childhood days, nor our youth,
Not the whole life in its last hour.
The sadness of Akhmatova and Tvardovsky is not melancholy or despondency. It brightens the soul, turning grief into strength, making pain cleansing and healing. And death itself, thoughts about it become wise and restrained, but all the more effective a hymn to the glory of being, an affirmation of its infinite diversity, beauty and uniqueness. And here the elegy comes into contact with the ode, glorifying life and man.
Soberly realistic and by no means serene reflections on man and time turn into the affirmation of an undying
"the whole life", which a person carries in himself until the last moment.
Appeal to significant, topical issues of the poetic process of the 50s - 80s, to the work of poets of different generations, allows us to conclude that the artistic and aesthetic discoveries of Soviet multinational poetry related to the comprehension of the world, time, and man.
In Soviet poetry of these years, the historicism of poetic thinking, which makes it possible to comprehend and reveal the inseparable connection of times, problems, conflicts, contradictions.
The variety of ways to embody the truth of life, the depth of penetration into the spiritual world of man, loyalty to the principles of humanism, nationality allows poetry to serve as a reflection of that time with the greatest completeness and accuracy.
The lines of one of the last poems of Alexander Tvardovsky sound like a wise testament to new poetic generations:
Everything in this world - just be on guard -
Full, full of their own, not imported,
Draw and unclaimed even,
The poet's longing for novelty.
Literature:
A. Tvardovsky / Sermon of dullness and spontaneity // Lit. Newspaper. - 1959. - September 10.
V. Lugovskoy / Reflection on poetry // M., 1960.
N. Tikhonov / Conversation with an aspiring writer //
A. Tvardovsky / Sermon of dullness and mediocrity//
V.A. Zaitsev / Poetic discovery of modernity / / Enlightenment 1988.
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Pavlova Svetlana Vladimirovna Lyrical tendencies in the Chuvash prose of the 50-80s of the 20th century in the context of Russian literature: dissertation ... candidate of philological sciences: 10.01.02 / Pavlova Svetlana Vladimirovna; [Place of protection: Chuvash. state un-t im. I.N. Ulyanova].- Cheboksary, 2009.- 174 p.: ill. RSL OD, 61 09-10/1000
Introduction
Chapter I Features of the reflection of the lyrical worldview of the Artist in literature
1.1. Lyricism as a way of expressing intimate feelings in a prose work 13
1.2. Style features lyrical prose: narrative organization, lyrical digressions and intonation 22
Chapter 2 The origins of the formation of lyricism in the Chuvash literature and Russian lyric prose
2.1. Folklore tendencies and lyricism in the prose of the 20-40s of the XX century 46
2.2. Some features of the development of the Chuvash and Russian lyrical prose of the 50-80s. XX century 60
Chapter 3 Trends in the development of lyrical prose in the Chuvash literature of the 50-80s of the XX century
3.1. Lyrical-philosophical prose 77
3.2. Lyrical-psychological prose 104
3.3. Lyrical and journalistic prose 120
Conclusion 153
Bibliography
Introduction to work
Lyrical prose for a long time in literary criticism did not have a single definition. A variety of opinions were expressed about the essence of lyrical prose as a stylistic trend. What are the defining features of lyrical prose proper? Very often, any emotionally colored prose is declared lyrical. In fact, the “core” of lyricism in prose is feelings. However, a literary phenomenon cannot exist in its “pure form”. So, lyrical prose is a combination of lyrical and epic principles, only lyrical forms of reproducing reality prevail in it.
Lyricism has its roots in oral folk art. Numerous genres of folklore "served" certain goals of society: myths, legends and traditions explained the origin of the people, told about the place of residence and occupation, recorded the main historical events, expressing a subjective assessment of the changes taking place.
The lyrical beginning develops quite intensively in the prose of critical realism, which strives for an objective assessment of reality, affirms new ideals dictated by life itself. The lyrical confession, a favorite device of the romantics, is supplanted by a clash of characters. Sublime intonations give way to an objective analysis of reality. Critical realist writers seek to emphasize the "difference" between the hero and the author. Lyrical prose in the realistic literature of the past existed in an independent "form" in the genre of poems in prose.
The innovation of the lyrical prose of the Soviet era lies in the fact that it reflects new facets of reality, new relationships between the individual and the collective, the new spiritual world of Soviet people. Lyrical prose reflects those emotional experiences that do not find
expressions in action. It is this property that becomes the main one in the definition of this phenomenon.
In Chuvash literature, lyrical tendencies, as well as in Russian, originate from oral folk art. However, the intensive development of Chuvash literature can be traced only in the post-October years. Especially rapid growth is found in poetry. Tendencies towards the lyricization of the narrative are manifested, first of all, in the work of S. Fomin and V. Rzai.
In general, in the literature about such a phenomenon as lyrical prose, they started talking about the beginning of the work of O. Bergholz and V. Soloukhin. National literatures, including the Chuvash, adopted this process almost simultaneously. In Chuvash literature, the development of lyrical prose took place in "the heyday of the so-called socialist realism. Themes and ideas for future works were dictated from above, imposed on the writer. The state ideology, apparently, did not take into account the fact that art is always an attitude. Always a fusion of objective and subjective The objective represents the real world, and the subjective - as an assessment of the depicted reality.In lyrical prose, the spiritual world of the writer himself acts as an expression of the characteristic features of the time, where he seeks to openly convey to the reader his attitude to the world.
One of these writers in Chuvash literature, in our opinion, is A. V. Emelyanov. His prose is rather peculiar. Outwardly, he does not go beyond the rules adopted by the ideology, depicts in his works everyday life working people. However, at the same time, the writer manages to bring a lively charm and attractiveness to his work. A. Emelyanov's narration contains a manifestation of real human feelings within the framework of a prose work. Thus, he managed to satisfy both his claims in literature and the demands made by Soviet ideology. But not all writers
were free to practice literary creativity. From this point of view, the work of such writers as Yu. Skvortsov, V. Ignatiev, A. Artemyev and some others did not meet the exemplary standards of socialist realism and could not suit Soviet critics. While it is in the works of these prose writers that a new literary phenomenon is born - lyrical prose. Moreover, in Chuvash literature it is clearly divided into three main areas: lyrical-philosophical, lyrical-psychological and lyric-journalistic, the last of which, in our opinion, is dominant.
Relevance research determined by the following
circumstances:
Firstly, Chuvash literary criticism in recent decades has attached increasing importance to the study of artistic form, issues of aesthetic expression. However, the problems of lyrical style in the literature of the 50-80s remain insufficiently studied.
Secondly, the study of the writer's work is impossible without full consideration of the context of the era. This task becomes more difficult the farther this era goes from the researcher.
Thirdly, questions related to the disclosure of the mysterious human fate on the material never lose public interest. artwork.
To create a complete picture of the study of lyrical prose, it is necessary to identify the individual style of the writer. Any individual style is based on the experience of previous styles, bears the imprint of both national and global culture. The author's style is "an expression of deep originality" [ 38, p.
The purpose of this work is a study of lyrical prose based on the works of Chuvash prose writers created in the 50-80s
XX century. Revealing the individual and national originality of lyrical prose on the basis of a comparison of the work of prose writers. The main goal determined the range of specific objectives of the study:
Consider the origins of the formation of lyrical prose and trace
the main periods of development of this process;
Reveal the genre and style originality of novels and short stories
Chuvash prose writers who determine the main trends in the development
lyric prose;
consider the development of lyrical prose in the 50-80s of the XX century and identify its main trends (lyrical-philosophical, lyrical-psychological and lyrical-journalistic);
trace the features of the formation of the above-mentioned trends in lyrical prose and identify their characteristic features on the material of the Chuvash writers.
Theoretical and methodological base This study is based on the integrated use of the principles of comparative typological, historical, literary and textual analysis. The main technique is the comparison of texts, which is complemented by a detailed study of the style, both originals and translations.
The methodological basis of the study is
literary works of V.V. Vinogradova, M.M. Bakhtin, Yu.M. Lotman, G.N. Pospelova, A.V. Chicherina, V.G. Belinsky and others. The general approach to the problems of literary style is determined by the points of view of L.Ya. Ginzburg, A.P. Elyashevich, Yu.M. Artemyeva, G. Ya. Khlebnikova, G.I. Fedorova, A.F. Myshkina and others.
Scientific novelty of the research consists in trying
systematized comprehension and analytical generalization of works that, in our opinion, determine lyrical prose in Chuvash literature. A holistic study of style is being undertaken for the first time. The novelty also lies in the identification of new views on the lyrical
prose in Chuvash literature, including the definition within the literary phenomenon of its main directions. Thus, for the first time, questions are raised about the distinction between lyrical-philosophical, lyrical-psychological and lyrical-philosophical prose, about the interaction of lyrics and journalism both within the framework of the work of one writer and one specific trend.
The degree of knowledge of the problem. It should be noted that lyrical prose still does not have a clear scientific definition. Initially, many researchers (L. Novichenko) consider lyrical prose as part of the romantic trend. For others, the main feature of lyrical prose is the predominance of the author's voice in the narration and free composition (V. Kovalev). According to V. Novikov, S. Petrov and J. Elsberg, who consider lyrical prose as a special type of artistic generalization, its essence is the direct presence in the works of the “I” of the author, revealing his experiences, feelings and thoughts.
A deeper approach to this issue is demonstrated by the works of G. Pospelov and L. Ginzburg. According to G. Pospelov, such a property of a work of art as lyricism is directly related to the pathos of the works, which expresses a certain ideological and emotional assessment of the writer. L. Ginzburg explains the concept of lyricism as a subjective kind of literature, it, like no other, “is aimed at the general, at the image mental life as universal."
Each of the researchers we are considering is right in his own way, each notes the really important and characteristic features of lyrical prose, examines the lyrics from different points of view. But all researchers agree on one thing: the sensual world of the individual is the essence of lyrical prose. In Chuvash literature, pronounced features of lyrical prose appear at the end of the 50s in the works of front-line writers V. Sadai, V. Alendey, A. Artemiev. In them, the main task of the authors is to reveal the inner world of the characters. Some
prose writers tend to use confessional forms of narration (V. Ignatiev, Yu. Skvortsov). For the most part, writers unfold their plots against a single background - against the background of the Chuvash village, while the lyrical landscape plays an important role).
However, the new phenomenon most clearly manifested itself in
prose writings by F. Uyar, A. Artemyev,
Yu. Skvortsov, V. Ignatiev, F. Agiver, V. Sadai and some others. It should also be noted that each writer, despite the general tendency to lyricize the narrative, outlines his own unique features, because, expressing his attitude to the world, the lyric writer thereby reveals his own world. And in this individual, different from others, representation of the world, it is also important how deeply the inner world of the writer expresses the spiritual wealth of the people. The individuality of the writer's work is also manifested in the choice of a certain angle for depicting various social problems.
The work analyzes the work of such a Chuvash writer as Anatoly Emelyanov, in line with the interpenetration of two principles: lyrical and journalistic. The specificity and originality of his work, the origins of the formation of his artistic worldview and the mechanism of reflection of this worldview in the author's poetics are investigated. At the same time, we will pay our main attention to such a quality of A. Emelyanov's creativity as the lyricism of the story.
A. Emelyanov forms all his work in line with the so-called "village prose", and explores such a sphere of life that is directly related to his profession. It is known that for a long time the writer worked in the field of agriculture, starting from a simple livestock specialist, "rose" to the post of secretary of the district committee. Apparently, for this reason, A. Yemelyanov introduces readers in great detail to the nuances of farming. Despite the creativity of numerous
writers working in line with the "village prose", A. Emelyanov managed to preserve his unique face, to find his own niche.
In our opinion, the work of A. Emelyanov is a unique phenomenon in the Chuvash literature. Despite the journalistic sharpness of his works, they are nevertheless characterized by an extraordinary lyricism of the narrative. In our work, we will try to find out how Anatoly Emelyanov manages to combine these two, essentially incompatible, features of artistic narration in his work.
A. Emelyanov is the author of many famous works, but before
of recent times, he remained a little-studied writer. For today
day, in addition to a small number of reviews, there are also
a few review-critical articles, the authors of which try to
present a picture creative way writer. to the most serious
studies of A. Emelyanov's creativity include the works of G. Fedorov
« Art world Chuvash prose of the 1950s-1990s”, A. Myshkina
"Chuvash Artistic-Philosophical and Artistic
publicistic prose of the second half of the 20th century”, dissertation by T. N. Emelyanova “The peculiarity of the artistic and publicistic prose of A. Emelyanova”.
In the study of G.I. Fedorov provides a detailed analysis of the Chuvash prose of the second half of the 20th century, the main trends in the literary process. The author explores the aesthetic image of the creative searches of individual writers, including A. Emelyanov. A more detailed study of the work of A. Emelyanov is undertaken by the author in the chapter "Social types of heroes and the philosophy of being a guild, social person."
A. F. Myshkina in her work analyzes the work of A. Emelyanov in line with artistic and journalistic prose, however, the author also notices tendencies towards the philosophizing of the writer in the mature period of his work.
Another of the studies of the work of A. Emelyanova of a rather fundamental nature is the dissertation of T. Emelyanova. In this
The work presents the systematization and analysis of some works by A. Emelyanov. A typology of characters in the work of A. Emelyanov is being developed, the problem of the chronotope of prose and the originality of the genre system of the writer's artistic journalism are being studied.
Researcher Emelyanova T.N. a remark was made that “Emelyanov’s great merit lies in the fact that he first guessed that both a business person and a manager, despite the fact that they were engaged in production issues, had friends, family, children, solved household issues, etc. . In addition, he was one of the first to realize that party workers, chairmen of collective farms are not always goodies, among them there are also bad organizers of production, who ... work only to become advanced by any means, to receive awards, honors, etc. It was the understanding of this that helped Yemelyanov to comprehend the new tasks of depicting the hero of journalistic prose and noticeably clarify the features of the typology of heroes.
Studying the works of the 60-80s, we came to the conclusion that the world of A. Emelyanov's prose is an inseparable, organic combination of journalistic and lyrical principles. Moreover, the skill of the writer is increasingly manifested in the strengthening of the lyricism of the narrative.
In the process of analytical comprehension of A. Emelyanov's texts, one often encounters the problem of literary translation of the author's works. Among its translators are S. Shurtakov, Yu. Galkin, A. Dmitriev and others. Aesthetic tastes, predilections, peculiarities of the worldview of the performers of this complex work objectively affect the quality of the translation, and the Russian-language text does not always appear adequate. Therefore, choosing the most successful examples of translation, the dissertation student often had to use his own philological translation. However, this problem is beyond the scope of this study and requires special study.
In modern literary criticism, interest in the study of the lyrical aspect in the work of various prose writers has not yet weakened. So, for example, S. Lipin, A. Pavlovsky, I. Elsberg and others. But, as we noted above, scientists have not yet come to a consensus on the definition of clear boundaries for lyrical prose. However, despite the lack of a consensus on this issue, it is indisputable that lyrical prose is intended to express, first of all, the inner experiences of the lyrical hero against the backdrop of universal reality.
Theoretical and practical significance The conclusions obtained in the dissertation are determined by the fact that they can significantly deepen the idea of lyrical prose in Chuvash literature. The paper reveals the features of the Chuvash lyrical prose. Various tendencies of its development are determined in three main currents: lyrical-philosophical, lyrical-psychological and lyrical-journalistic. The dissertation work can also serve as some example of an attempt at a historical-literary and theoretical study of individual problems of fiction.
The findings may also be of interest to specialists in the field of literary history and literary stylistics. The research material is novels and short stories.
A. Emelyanova, A. Artemyeva, Yu. Skvortsova, V. Ignatieva, V. Sadaya,
V. Alendeya, L. Tallerova, F. Agivera, F. Uyara, journalistic works
A. Emelyanova, F. Uyar and others. In comparative terms
considered "exemplary" works of Russian lyrical prose 50-
60s (O. Bergholz, V. Soloukhin, V. Likhonosov and others).
The theoretical significance of the work lies in the fact that the dissertation has developed a scientific system for considering the features of lyrical prose. The practical significance of the work lies in the fact that the dissertation materials can be used in writing textbooks, teaching aids,
development of the history of Chuvash literature, in the preparation of various special courses on literature.
Approbation of work. On the topic of the dissertation, the researcher published a number of articles in journals and collections, the conclusions were tested at annual conferences of various sizes.
Work structure determined by the tasks. It consists of an introduction, three chapters, a conclusion and a bibliography.
Lyricism as a way of expressing intimate experiences in a prose work
Lyrical prose is designed to reflect the diversity of human perception of the world. Various contradictions of reality, the complex processes of modernity are expressed in it not only through the collision of different characters, but, above all, as a response of the heart to certain phenomena of reality. Lyric writers seek to reveal the originality of the world, passing it through their own "I" and express this world in a purely individual incarnation.
In literary criticism, there are many opinions in discussions about lyrical prose. Many literary critics consider it in line with the romantic trend, as an integral part of it. So, in L. Povichenko's article "Style - method - life" the concepts of "lyrical prose" and "romantic style" alternate as equivalent. “The increased activity of artistic thinking, the artistic re-creation of reality, which is generally inherent in romantic styles,” he writes, “acquired special significance as an“ antidote ”from all sorts of normative, leveling tendencies. “The Life of the Heart”, the emotional experience of events that lyrical prose so directly revealed, turned out to be much more meaningful and humane than the elementary didactics characteristic of works that outwardly seem to be “life-like”, but in fact, very inferior in a realistic sense. Add to this a wider register of figurative means (associativity, symbolism, other types of poetic conventions), as well as a noticeable interest in lyric-romantic prose to the national features of folk life and folk character- and it will become clear that this prose met the real needs of literary development and the real needs of the reader.
In the 60s. In the 20th century, a somewhat different trend is emerging in criticism and literary criticism. Some researchers are beginning to single out lyrical prose as an independent course (S. Asadullaev), while others associate it with the confessional form (L. Terakopyan). But the difference in judgments does not mean an incorrect interpretation, on the contrary, they deepened and supplemented the main features of lyrical prose.
So, for example, the main feature of lyrical prose for V. Kovalev is "the predominance of the author's voice in the narration and free composition" . For A. Pavlovsky, this is not poetry or prose, "something third - lyrical prose, impressionistic, scattered, subjective, barely torn off from the diary and almost not torn off from verse" . And for S. Kryzhanovsky - "the thought, feeling, mood, pathos of the writer, the desire not only to say the most intimate, but to say it in an original and beautiful way."
A peculiar approach distinguishes the works of V. Novikov, S. Petrov and Y. Elsberg, who consider lyrical prose as a special type of artistic generalization, the essence of which “is the direct presence in the works of the author’s “I”, revealing his experiences, feelings and thoughts, consonant with feelings and thoughts of the era. “This lyrical content leaves its mark on the entire style of the work, determines the special emotional structure of the narrative, brings to life a special artistic structure. The lyrical element in these works is manifested in their poetics and style.
A deep approach to the essence of lyrics is observed in the works of G.N. Pospelov. So, in his opinion, “lyricism” is “a property related ... to that side of the content, which can be called the pathos of works. The pathos of a work is a certain and active ideological and emotional assessment expressed in it by the writer of the social characters reproduced by him, generated by their objective, internal inconsistency and arising from the writer's worldview, from his ideals. . At the same time, he clarifies the concept of the subject of lyrics. “The social consciousness of the writer as the main subject of the artistic reproduction of life in lyrics is always directed towards something - either deep into oneself, to one’s emotional and mental states and aspirations, or to phenomena of the outside world, to social and personal relations of being, to natural phenomena. » . In the same book, the researcher reveals the specific properties of the epic and lyric, shows how these properties are combined and intertwined.
G. Pospelov even tries to determine the proportional relationship between the properties of lyrics and epic in a lyric-epic work. “... In order to find a meaningful balance between the epic and lyrical parts of the text within one work, it is enough for the writer to fill this text with epic, plot episodes by approximately one third or even one quarter of its total volume - precise definitions here, of course, are impossible and not are needed, - and leave everything else to lyrical meditations and meditative descriptions ... If the lyrical parts take a larger place, fill about half or less than half of the entire text of the work, the epic in it will clearly prevail over the lyrics, "push" it in meaning to the background. Then the lyrical parts will be perceived as "digressions" from the main, epic episodes of the work, and all of it as a whole will be perceived as a phenomenon of the epic, and not the lyric epic.
Stylistic features of lyrical prose: organization of the narration, lyrical digressions and intonation
It should be noted that each lyric writer uses wealth in his own way. lyrical means, but at the same time, everyone has their own techniques, characteristic only for him. These techniques make up a certain style of the writer, which, according to A. Chicherin, "implies the unity of word and image, image and composition, composition and ideas ... work." “The study of style,” the researcher continues, “is impossible without a philosophical understanding of the unity of content and form, without connection with other arts, without connection with aesthetics ...” . The vital material, which became the basis of the entire work, involves various stylistic devices. Different orientation, different richness of the writer's feelings, the unique originality of his talent and life experience predetermine the choice of means of artistic expression. In lyrical prose, it is also important how vividly and emotionally the artist is able to convey his thoughts and feelings to the reader, how deeply he will be able to "penetrate into the souls of his contemporaries".
According to M. Khrapchenko, “by bringing “his own” into literature, a talented writer increases the common heritage, the spiritual values that belong to the people. The role of creative individuality is determined not just by originality, which is expressed in the creation of generally significant artistic values. “Own” becomes important not only because of its dissimilarity with other manifestations of the individual in literature, but when it enriches the spiritual world of a person, the artistic culture of the people.
In Chuvash literature, lyrical prose manifested itself more prominently, in our opinion, in the prose works of F. Uyar, A. Artemiev, Yu. Skvortsov, V. Ignatiev, F. Agiver, V. Sadai and some others. Each writer, despite the general tendency to lyricize the narrative, outlines his own unique features, because, expressing his attitude to the world, the lyric writer thereby reveals his own world. And in this individual, different from others, representation of the world, it is also important how deeply the inner world of the writer expresses the spiritual wealth of the people. The individuality of the writer's work is also manifested in the choice of a certain angle for depicting various social problems.
In this section, we will try to analyze the main methods of lyrical narration by writers whose work, in our opinion, largely determines the Chuvash lyrical prose - these are the works of Yu. Skvortsov, V. Sadai, A. Artemiev and V. Ignatiev. Our choice is explained by the fact that the literary activity of these prose writers most fully reflects the process of formation of lyrical prose in the Chuvash literature of the 50-70s.
Works of lyrical prose are a complex alloy of visual and expressive means. Writers use epic devices in their own way to express lyrical mood. So, the lyricism of Yu. Skvortsov is characterized by the extraordinary fusion of his hero with the natural world. The writer sees in its manifestations something akin to a person, sometimes the character appears in the landscape as an integral part of it. In the story “Vasya the Singer”, the author at the very beginning of the story describes the predawn picture near the village pond: the sun had not yet risen, “the fog did not fit in the ravine, blue smoke flowed through the streets of the village”, “the pond, which had cooled during the night, quieted down and with a bright eye looked at the sky”, “the frogs stuck out heads similar to floats”, “splashed, drawing circles, crucians”... And right next to them “a broad-shouldered fair-haired guy sat ... and watched his fishing rods”.
Skvortsov introduces his hero into the work, without disturbing the general course of the story, and does it so organically, as if this guy is no different from the same frogs and crucian carp and quite naturally complements the morning landscape. Moreover, the writer uses very bright and colorful epithets, metaphors and personifications, which make it very easy to imagine the picture he describes.
Nature in the works of Y. Skvortsov often appears as a silent interlocutor, to whom the hero entrusts his innermost secrets. In the story "Birch Ugah" (Ugah khuranyo), the heroine very often goes to the forest to talk with the "forest-father". For her, as well as for the author, the forest is a living creature that sees everything and understands everything. He can also change his mood, he can express his displeasure, as in the episode where Ugahvi, sensing her imminent death, came to say goodbye to the forest. Suddenly, an “angry” wind rises in the forest, “the tops of elms, lindens, oaks, furiously hummed, as if engulfed in fire.” It turns out that this forest father is angry with Ugahvi because she surrenders to the disease without a fight. . In the story “Vasya the Singer”, the author emphasizes the importance of the natural world for his hero: “For a young man who sat, saddened, here, on the banks of his native river, these are not accidentally torn pictures of nature - a reward for quiet moments of loneliness. This is complete unity with the environment. In it, nature, his whole being dissolves, in her he draws his strength, thanks to her the soul grows, the heart expands, songs are born ... ".
The landscape can also serve as a reflection of the thoughts and feelings of the characters. While, for example, in the works of V. Sadai, pictures of nature act, first of all, as a background for the unfolding of plot events. So, nature in Skvortsov's story "Birch Ugakh", having learned about the victory of our troops in the Great Patriotic War, "responds to human joy", "even birds glorify the Victory along with people."
Nature in the works of Yu. Skvortsov is also endowed with certain sounds; the writer strives to completely recreate the picture of the surrounding world with all its inherent features. He assigns an important role in this matter to the sound side. The reader can not only imagine a certain landscape, but also hear various sounds. So, for example, creating the image of a forest, Skvortsov supplements with live sounds: somewhere an owl suddenly hoots - “Te-v-v-v-ik!”, Or a nightingale sings - “Charn-charn-charn-charn! .. Chep- clap-chop! .. It's wonderful, it's wonderful! .. "... Along with the sounds of" natural ", Skvortsov also reproduces sounds, man-made with the help of any objects: the author accompanies the fall of something with a sound similar to “Tyunt!”, Mowing - “hash-tyk, hash-tyk!”, During pasture, “has-has!” is heard from everywhere. All these peculiar interjections and onomatopoeia give the works of Y. Skvortsov emotional richness, tangibility and the “presence effect” of the reader in the vicissitudes of the plot. Thus, it seems that nature in the works of 10. Skvortsova lives its own “ full life» .
It should be noted that the landscape in general has great importance in the construction of a lyrical narrative. In the works of V. Sadai, A. Artemiev, V. Ignatiev, descriptions environment, in contrast to the prose of Yu. Skvortsov, are called upon to more reflect the inner world of the hero, or pictures of nature lead the characters to reflections and memories. As, for example, in V. Sadai's story "The Smell of Fog", when the hero, upon meeting with his native land, begins to recall his former youth.
Folklore tendencies and lyricism in the prose of the 20-40s of the XX century
Between the present reality and the past there is a living successive connection. The current state of literature can be deeper and more fully comprehended and understood only when the conditions and causes of its emergence and origins are explained. So, lyrical prose is not formed in one day, but has prerequisites that have been developing for centuries. The new is always based on: the desire to deeply and fully express the state of reality, to determine those social transformations that are characteristic of a particular stage in the development of society. Artistic techniques- neither those that have already been identified in the art of the past, nor those that are born in the process of creativity - are not yet independently the main ones in determining this or that literary phenomenon. .
A special group of genres of oral folk art is made up of plots and motifs of the pagan faith, texts of incantations and prayers, rituals associated with the cult of ancestors. Lyric-epic songs, such as songs of youth, songs of an orphan, etc., are filled with the greatest lyricism. During the period of Christianization of peoples, oral folk art is replenished with religious genres, such as spiritual verses, confession, repentance. The genres of confession and repentance, in our opinion, are the direct source of the birth of lyrical prose. During confession, a person is completely immersed in his inner world, he remains alone with God, trusts him. His soul is maximally exposed and revealed, as if it appears in its “original” form. Through confession, a believer comes to repentance. His soul is cleansed, filled with new feelings and thoughts. At this moment, a person re-experiences all the events that have occurred in life from his birth to the present moment. According to the divine commandments, the confessor must remember all his sins. The most important thing in this is not just to remember, but to realize, admit your mistakes and sincerely repent of them. Only after repentance in the Christian religion does divine grace descend on the believer. A person is internally reborn, he is given the opportunity to start his life from new moral positions. Thus, the genres of confession and repentance contributed to the development of the sensual aspects of a person's character, the disclosure of his inner world.
In general, the genres of oral folk art are saturated with poetic parallelisms of human feelings and natural phenomena, elements of the loving and, at the same time, deifying attitude of the people to the realities surrounding them. A kind of fusion of lyricism and documentary is "The Tale of Igor's Campaign". According to the researcher V. Fedorov, this is both a poem and a story. “This is where all the best that is in lyrical prose comes from: citizenship, patriotic pathos, poetry and documentary in the best sense of the word.” "The Tale of Igor's Campaign" can be attributed to the number of the first works of oral folk art, in which the basis for the development of lyrical prose is based. Thus, the folklore worldview and its poetics at the first stages of the formation of literature play an active role in the work of many writers.
This is especially noticeable in the work of writers at the turn of the 19th-20th centuries. So, N. Shelebi enthusiastically collected the best examples of Chuvash oral poetry. In the collection of lyric-philosophical texts he compiled under the title “My Favorite Songs”, an outline portrait of the hero is already being drawn, which will subsequently enrich Chuvash poetry. This refers to the image of Tilly, created by P. Khuzangai. The oldest and talented prose writer I. Yurkin found inspiration in the best examples of Chuvash song lyrics. One of the first among the Chuvash writers to translate Russian classics was Yakov Turkhan, who was especially close to the poetry of V. Zhukovsky, A. Pushkin, I. Kozlov, M. Lermontov, A. Koltsov, N. Nekrasov. His brother F. Turhan preferred the lyrics of M. Lermontov. Lermontov's creations inspired K. Ivanov, F. Pavlov, G. Korenkov and others. At the same time, deep lyrical and philosophical meditations are characteristic of the work of these poets. The lyrical and philosophical searches of the author of "Narspi" marked the pinnacle of the rise of the Chuvash literary and artistic consciousness.
In the Chuvash literature of the heyday of the Simbirsk literary school, due to traditions and objective historical and cultural circumstances, there is still a clear dominance of lyrics over other genres. This trend will continue even into the 1920s. XX century. It is noteworthy that there is a deep dialectical connection with the values accumulated by the lyrics of previous periods in the development of Chuvash literature.
Lyricism as a form of direct expression of the artist's attitude to reality can be a sign of a variety of literary movements. It is for this reason that the predominance of lyrical intonations in the work of any writer is not yet a reason to consider him the ancestor of lyrical prose. Of course, everything romantic is deeply lyrical art XIX century. Romanticism as a direction arose on the basis of the contradictions of the individual with society, as a result of the discrepancy between his internal ideas and reality. Romantics opposed the spiritual world of man to the cruel and unfair surrounding world. As a result, the inner content of the personality gradually becomes the main object of attention. “Increased attention to the secrets of the human soul, the uninhibited human spirit as the most amazing and beautiful phenomenon in the world of despotism, a kind of autobiography, expressed in the fusion of the world of the artist and the hero, but the world that is deeply opposed to the foundations of society, demanded that romantic writers improve, first of all, lyrical techniques storytelling, artistic means direct, direct expression of one's attitude to reality and one's ideals.
Lyrical-philosophical prose
In the 60s - 80s in the Chuvash literature, there is a tendency to turn to artistic and philosophical motifs in prose. According to researcher G.I. Fedorov, "prose builds up the power of an intellectualized awareness of the world, the conventionality of the displayed reality, noticeably strengthens the craving for an empirical approach to the embodiment of an idea in the forms of life itself" . The lyrical outpourings of the characters are intertwined with philosophical reasoning, which, in turn, is often associated with existential questions. In our opinion, the current situation is a natural process, because sooner or later every person comes to the realization of the need to know himself, to determine the degree of his "selfhood".
Each lyric writer uses a variety of lyrical means in his own way (special intonation, frequent use digressions, composition features, etc.). Each one can be identified by methods characteristic only for him. So, for example, the prose of Yu. Skvortsov stands out significantly in comparison with the work of the Chuvash writers F. Uyar, V. Ignatiev, A. Emelyanov, F. Agiver and some others by the presence in it of bright, unusual characters endowed with an unusually subtle soul and a peculiar look at world - all this allows us to attribute his work to the mainstream of lyric-philosophical prose. At the same time, Yu. Skvortsov does not take as the basis for the plot the then widespread questions of global public sounding, but chooses ordinary, at first glance, unremarkable or even “meaningless” events from life. common man. For this reason, in the 50s and 60s, the work of this writer was not taken seriously by critics and was subjected to scolding in every possible way.
Considering the prose of Y. Skvortsov today, we understand that Soviet critics, accustomed to analyzing works of literature from the standpoint of socialist realism, really found it difficult to find anything “useful” in them, so they designated the writer’s prose as “defective” and “inferior”. This is an erroneous opinion - the works of Yu. Skvortsov require careful and thoughtful reading. The idea of this or that work does not lie on the surface, it must be reached through deep reflection. Behind a seemingly unpretentious plot, bright types and characters are hidden, rooted in the depths of national thinking.
One of these images is the hero of the story "Slavik". It is necessary to immediately make a reservation that for the analysis of the work of writers we take only works created in the 50s - early 60s in order to trace the formation of lyrical prose in Chuvash literature at its early stage. Yu. Skvortsov's story "Slavik" presents the image of a teenager endowed with the talent of a musician. Such a hero is in itself unusual for the Chuvash literature of the period we are considering. A fourteen-year-old boy with a subtle soul in the story for the first time learns the world in all its diversity. Slavik "firmly believed that childhood, fortunately, was gone from him, and he can perceive the world as an adult." The writer "acquaints" him with the first serious feeling - the feeling of love. At the very beginning, the author depicts his hero composing music, which helps to express the subtlest emotional experiences of the boy, caused by sensations previously unknown to him. “In the chest of a teenager sitting at the piano, some new feeling of excitement flashed like a bird. And he, forgetting about everything in the world, tried to shift this feeling into the language of music. But, having played his composition several times, the boy turned gloomy, his eyebrows scorched by the sun converged on the bridge of his nose - this music was very far from what he was looking for ... This feeling was as bright as a sunbeam. It loudly burst into his soul from an unknown world, reminded him of a carefree, joyful childhood, which recently remained somewhere in the world of dreams and fairy tales. Throughout the story, we see how this feeling develops in Slava's soul, how it makes him suffer and really grow up. Moreover, the boy's love becomes a source for his musical creativity. But not only this feeling serves as his muse, like all gifted people, Slava is able to hear music in many manifestations of the surrounding world. The most fertile field in this regard is, of course, nature. The boy, like many heroes of Y. Skvortsov, feels himself a part of nature, and only in merging with it can he fully feel the fullness of being. “... Orioles sing on the willows all day long. Often, sitting in the shadow of these giants, Slava listened with bated breath to the whisper of leaves, the chirping of the wings of dragonflies flying nearby. Behind all this, the boy heard music of extraordinary beauty ... And it seemed to the young musician that he had lived here for a thousand years and understood and felt the language of nature, which gave rise to music in him that had not yet been written by anyone. Here joy, inspiration and sadness crept into his soul ... ".
The lyrical hero in Yu. Skvortsov's story keenly feels the beauty of the world, its joys and subtly reacts to them. Only the beautiful in people, nature, in the surrounding phenomena finds a response in his heart first of all. And the main aspirations of the lyrical hero are not only the desire to merge with this beautiful, with the beauty of the world, but also a passionate desire to increase this beauty.
It cannot be said that Slavik is completely immersed in the world of beauty and beauty. At the same time, he begins to realize the complexities of the world, its negative, far from harmony sides. The teenager understands the doom of his love for Elvira, and this understanding sobers up the boy and returns him from the world of dreams to the real world. These two worlds in the soul of the hero are very closely intertwined and alternately replace each other. Moreover, if the world of beauty practically does not change, but is only enriched with new images, then Slavik sees reality in completely new forms and phenomena for him. “Some new door opened for him into the world of new feelings unknown to him. In this world, the most ordinary things looked unusually bright, beautiful, excited the soul. Peace and excitement, sadness and joy, grief and happiness coexisted here... The whole world turned upside down for him today. It turns out that he can be smooth and thorny, kind and merciless ... ".
When the inevitable happened - Elvira's wedding took place - Slavik realized "that she had gone to another forever and was convinced that now he would never love anyone." The author successfully conveys the feelings of his hero, which are familiar to almost all readers, because everyone, one way or another, experienced the feeling of first love. At the end of the story, the writer consoles the boy with the words of Sarah Arkhipovna, permeated with touching optimism: “You will still love, Slavik, and they will love you. It is good that you have already felt the pain of the soul. So you grow up kind person, you will become a sensitive musician. I'm happy for you, son. Sleep. You still have ahead of you ... ".
Arbuzov always shows his hero in motion, in growth, in development ... The dignity of his heroes and his plays is that the life that fills them, like real life, is complex and full of contradictions. True, Arbuzov sometimes tries to fit so many different conflicts into the confines of the drama that they do not fit in them and, without revealing themselves to the end, split up the images and plot, turn (which is combined with other reasons) a romantic drama into a shallow melodrama. But the best plays of Arbuzov give the viewer a sense of vitality and artistic authenticity.
Like all living people, especially spiritually growing people, the Arbuzov hero has both advantages and disadvantages. But since Arbuzov aims to create a typical image of a Soviet young man, and in the best plays he succeeds, the human, moral basis of his hero is positive. The virtues of the hero help him overcome weaknesses, shortcomings, and thanks to this, they appear in a particularly bright light.
The defining features of this or that aesthetic trend find a special expression in the work of each writer, due to the peculiarities of his talent and artistic personality. Being completely faithful to the lyrical-romantic direction, A. Arbuzov acts as an artist who has his own theme, his own style, his own unique appearance.
In an effort to fill his plays with the romance of fresh and youthful feelings, Arbuzov fills them with the romantic wind of flying time. Almost all of Arbuzov's plays are built in the same general way. There is a very long time between individual acts. Arbuzov shows his heroes as very young, then hides them for several years, marked by huge historical events (huge shifts in the course of socialist construction, the beginning of the Great Patriotic War, its victorious completion), and then again brings them to the stage - changed, grown up, survived a lot, hardened in a whirlwind of harsh events.
Arbuzov Alexey Nikolaevich - Russian Soviet playwright. He was born on May 26, 1908. He graduated from the theater school in Moscow. literary activity began studying in 1923. Arbuzov's first play is "Class" (1930). In 1935 he wrote the comedy "Six Beloved" and the play "The Long Road" in which the main motives of Arbuzov's work were clearly identified: close attention to the formation of the spiritual image of the Soviet young man, subtle lyricism, a penchant for intimate forms of drama, and a long one, usually spanning several years, duration of action. These features, which allow the playwright to follow the formation of the hero's character, are especially consistently expressed in one of his best plays "Tanya" (1939), which brought Arbuzov wide recognition, was staged in almost all theaters of the country. In 1939, Arbuzov organized the Moscow Theater Studio, which became a front-line theater during the Great Patriotic War. After the end of the war, the studio closed. In 1947, Arbuzov wrote a light comedy joke "Meeting with Youth", in 1948 he staged Turgenev's novel "On the Eve". To the best and most characteristic works of Arbuzov, the play “Years of Wanderings” (1954). In 1959 he created the drama "Irkutsk History", in 1960 the tragicomedy "The Twelfth Hour". Arbuzov's plays are widely staged in different countries.
The prose of this period is a complex and multifaceted phenomenon. The influx of new prose writers into literature - artists of the word with pronounced creative individualities - determined the stylistic and ideological and artistic diversity of prose.
The main problems of the literature of these years are connected with life. modern society, the life of the village in the past and present, the life and activities of the people, the Great Patriotic War. According to their creative individualities, writers tend to gravitate toward realistic, romantic, or lyrical tendencies.
One of the leading trends in the prose of this period was military prose.
War prose occupied a special place in the development of post-war literature. It has become not just a topic, but a whole continent, where almost all the ideological and aesthetic problems of modern life find their solution on the specific material of life.
For military prose, a new period of development began in the mid-1960s. In the late 50s, the books “The Fate of a Man” by M. Sholokhov, “Ivan” by V. Bogomolov, the novels by Y. Bondarev “Battalions Ask for Fire”, G. Baklanov “Span of the Earth”, the novel by K. Simonov “The Living and the Dead” appeared. (A similar rise is observed in the cinema - the Ballad of a Soldier, The Cranes Are Flying were released). A fundamentally important role in the formation of a new wave was played by M. Sholokhov's story "The Fate of a Man" and V. Nekrasov's story "In the Trenches of Stalingrad". With these works, our literature turned to the story of the fate of the common man.
With the greatest sharpness, the new beginnings of military prose manifested themselves in the stories of the direction that can be called the prose of psychological drama. The title of G. Baklanov's story "Span of the Earth" seemed to reflect the controversy with previous panoramic novels. The name said that what was happening on every inch of the earth reflected the full strength of the moral feat of the people. At this time, the novels “Battalions ask for fire” by Y. Bondarev, “Killed near Moscow” by K. Vorobyov, “Crane cry”, “Third rocket” by V. Bykov are published. In these stories there was a similar central character - as a rule, a young soldier or lieutenant, a peer of the writers themselves. All stories were distinguished by the maximum concentration of action: one battle, one unit, one foothold, one moral situation. Such a narrow view made it possible to highlight in contrast the dramatic experiences of a person, the psychological truth of his behavior in the conditions of reliably shown front-line life. There were similar and dramatic episodes that form the basis of the plot. In the stories "Span of the Earth" and "The Battalions Ask for Fire" there was a fierce and unequal battle on a tiny foothold.
In the story by K. Vorobyov “Killed near Moscow”, a battle was shown by a company of Kremlin cadets, from which only one soldier came out alive. A battle in which idealized ideas about war are defeated by the harsh truth of the surging events. The internal development of the plot reveals not how fruitlessly and doomedly the cadets thrown into battle perish, but how selflessly the remaining ones continue to fight. Putting their heroes in difficult, very difficult situations, the writers found out at this break such changes in the moral character of the hero, such depths of character that cannot be measured under ordinary conditions. The main criterion for the value of a person among the prose writers of this direction was: a coward or a hero. But for all the irreconcilability of the division of characters into heroes and cowards, the writers managed to show in their stories both the psychological depth of heroism and the socio-psychological origins of cowardice.
Side by side with the prose of psychological dramatism, epic prose sometimes developed steadily in open polemics with it. The works aimed at a wide coverage of reality were divided into three groups according to the type of narration.
The first type can be called informative and journalistic: in them, a romantic story, captivating many characters at the front and in the rear, merges with the documentary authenticity of the depiction of the activities of the Headquarters and higher headquarters. An extensive panorama of events was recreated in the five-volume Blockade by A. Chakovsky. The action is transferred from Berlin to the small town of Belokamensk. From Hitler's bunker to Zhdanov's office, from the front line to Stalin's dacha. Although in the novel chapters proper the author's primary attention is on the families of the Korolevs and the Valitskys, we still have a novel that is not a family novel, but consistently journalistic in its composition: the author's voice not only comments on the movement of the plot, but also directs it. According to the event-journalistic logic, a variety of social strata come into play - the military, diplomats, party workers, workers, students. The stylistic dominant of the novel was the artistic comprehension and reproduction of historical events based on documents, memoirs, and scientific publications that have become available. Due to the acutely problematic, journalistic nature of the novel, fictional characters turned out to be more social symbols, social roles than artistically original, original types. They are somewhat lost in the whirlwind of events of a large scale, for the sake of depicting which the novel was conceived. The same applies to his novel "Victory" and to the three-volume "War" by A. Stadnyuk, which repeated the same principles that were tested by Chakovsky, but no longer on the material of the Leningrad defense, but of the Smolensk battle.
The second branch was panorama-family novels. (“Eternal Call” by A. Ivanov, “Fate” by P. Proskurin). In these novels, the journalistic element occupies a smaller place. In the center of the work is not a historical document or images of statesmen, but the life and fate of an individual family, which unfolds over many, and sometimes decades, against the backdrop of major historical upheavals and events.
And the third type is the novels of K. Simonov " Living dead”, “Soldiers are not born”, “Last Summer”, A. Grossman “Life and Fate”. In these works there is no desire to cover the widest possible field of historical events and the actions of all social strata, but in them there is a living correlation of private destinies with the fundamental problems of national life.
This is how important ideological and stylistic processes manifested themselves in notable works about the war, among which one can single out an increased interest in the fate of the common man, slowness of the narrative, an attraction to developed humanistic issues, to general issues of human existence. With a certain degree of conventionality, one can draw such a dotted line in the movement of military prose: in the first post-war years - a feat and a hero, then a more voluminous, tending to completeness image of a person in war, then a close interest in humanistic issues inherent in the formula man and war, and, finally , a man against war, in a broad comparison of war and peaceful existence.
Another direction of prose about the war was documentary prose. It is noteworthy that there is a growing interest in such documentary evidence of the fate of a person and the fate of the people, which, taken separately, would be of a private nature, but taken together create a vivid picture.
Especially much was done in this direction by O. Adamovich, who first compiled a book of records of the stories of the inhabitants of an accidentally surviving village, exterminated by the Nazis, “I am from a fiery village”. Then, together with D. Ganin, they published the Blockade Book, based on the oral and written testimonies of Leningraders about the blockade winter of 1941-1942, as well as the works of S. Alekseevich “The war has no female face"(Memories of women front-line soldiers) and" The Last Witness "(children's stories about the war).
In the first part of the "Blockade Book" there are published recordings of conversations with blockade survivors, residents of Leningrad who survived the blockade, provided with the author's commentary. In the second - three commented diaries - a researcher Knyazev, a schoolboy Yura Ryabikin and a mother of two children Lidia Okhapkina. Both oral testimonies, and diaries, and other documents used by the authors convey the atmosphere of heroism, pain, perseverance, suffering, mutual assistance - that true atmosphere of life in the blockade, which appeared to the eyes of an ordinary participant.
This form of narration made it possible for representatives of documentary prose to raise some general questions of life. Before us is not documentary-journalistic, but documentary-philosophical prose. It is dominated not by open journalistic pathos, but by the thoughts of the authors who wrote so much about the war and thought so much about the nature of courage, about the power of man over his own destiny.
Romantic-heroic prose about the war continued to develop. This type of narration includes the works “The Dawns Here Are Quiet”, “Not on the Lists” by B. Vasiliev, “The Shepherd and the Shepherdess” by V. Astafiev, “Forever Nineteen” by G. Baklanov. The romantic style clearly reveals all the most important qualities of military prose: a military hero is most often a tragic hero, military circumstances are most often tragic circumstances, be it a conflict of humanity with inhumanity, a thirst for life with a severe need for sacrifice, love and death, etc.
During these years, “village prose” came to one of the first places in terms of its significance.
The 50-60s are a special period in the development of Russian literature. Overcoming the consequences of the cult of personality, rapprochement with reality, the elimination of elements of conflict-free, embellishment of life - all this is characteristic of Russian literature of this period.
At this time, the special role of literature as the leading form of development is revealed. public consciousness. This attracted writers to moral issues. An example of this is "village prose".
The term "village prose", included in scientific circulation and criticism, remains controversial. And so we need to decide. First of all, by "village prose" we mean a special creative community, that is, first of all, these are works united by a common theme, the formulation of moral, philosophical and social problems. They are characterized by the image of an inconspicuous hero-worker, endowed with life wisdom and great moral content. Writers of this trend strive for deep psychologism in the depiction of characters, for the use of local sayings, dialects, and regional catchwords. On this basis, their interest in the historical and cultural traditions of the Russian people, in the topic of the continuity of generations, grows. True, when using this term in articles and studies, the authors always emphasize that it has an element of conventionality, that they use it in a narrow sense.
However, this does not suit the writers of the rural theme, because a number of works go far beyond the scope of such a definition, developing the problems of the spiritual understanding of human life in general, and not just villagers.
Fiction about the village, about the peasant man and his problems over the course of 70 years of formation and development is marked by several stages: 1. In the 1920s, there were works in literature that argued with each other about the ways of the peasantry, about the land. In the works of I. Volnov, L. Seifullina, V. Ivanov, B. Pilnyak, A. Neverov, L. Leonov, the reality of the rural way of life was recreated from different ideological and social positions. 2. In the 30-50s, tight control over artistic creativity. In the works of F. Panferov "Bars", "Steel Ribs" by A. Makarov, "Girls" by N. Kochin, Sholokhov "Virgin Soil Upturned" reflected negative trends in the literary process of the 30-50s. 3. After the exposure of Stalin's personality cult and its consequences, literary life in the country is activated. This period is characterized by artistic diversity. Artists are aware of their right to freedom of creative thought, to historical truth.
New features, first of all, were manifested in the village essay, which poses acute social problems. (“Regional weekdays” by V. Ovechkin, “At the middle level” by A. Kalinin, “The fall of Ivan Chuprov” by V. Tendryakov, “Village diary” by E. Dorosh).
In such works as “From the Notes of an Agronomist”, “Mitrich” by G. Troepolsky, “Bad Weather”, “Out of Court”, “Bumps” by V. Tendryakov, “Levers”, “Vologda Wedding” by A. Yashin, the writers created a true picture of everyday lifestyle of the modern village. This picture made us think about the diverse consequences of the social processes of the 30-50s, about the relationship of the new with the old, about the fate of traditional peasant culture.
In the 1960s, "village prose" reached a new level. Story " Matrenin yard" A. Solzhenitsyn occupies an important place in the process artistic comprehension folk life. The story represents a new stage in the development of "village prose".
Writers are beginning to turn to topics that were previously taboo: 1. the tragic consequences of collectivization (“On the Irtysh” by S. Zalygin, “Death” by V. Tendryakov, “Men and Women” by B. Mozhaev, “Eve” by V. Belov, “Brawlers » M. Alekseeva and others). 2. The image of the near and distant past of the village, its current worries in the light of universal problems, the destructive influence of civilization (“Last Bow”, “King Fish” by V. Astafiev, “Farewell to Matera”, “Deadline” by V. Rasputin, “ Bitter herbs" by P. Proskurin). 3. In " village prose”of this period, there is a desire to familiarize readers with folk traditions, to express a natural worldview (“Commission” by S. Zalygin, “Lad” by V. Belov).
Thus, the image of a man from the people, his philosophy, the spiritual world of the village, the focus on the folk word - all this unites such different writers as F. Abramov, V. Belov, M. Alekseev, B. Mozhaev, V. Shukshin, V. Rasputin, V. Likhonosov, E. Nosov, V. Krupin and others.
Russian literature has always been significant in that, like no other literature in the world, it dealt with questions of morality, questions about the meaning of life and death, and posed global problems. In "village prose" questions of morality are connected with the preservation of everything valuable in rural traditions: the age-old national life, the way of the village, folk morality and folk moral principles. The theme of the continuity of generations, the relationship of the past, present and future, the problem of spiritual origins folk life solved differently by different writers.
So, in the works of Ovechkin, Troepolsky, Dorosh, the priority is the sociological factor, which is due to the genre nature of the essay. Yashin, Abramov, Belov connect the concepts of "home", "memory", "life". They associate the fundamental foundations of the strength of people's life with the combination of spiritual and moral principles and the creative practice of the people. The theme of the life of generations, the theme of nature, the unity of tribal, social and natural principles in the people is characteristic of the work of V. Soloukhin. Yu. Kuranova, V. Astafieva.
The innovative nature associated with the desire to penetrate deeper into the moral and spiritual world of a contemporary, to explore the historical experience of society is inherent in the work of many writers of this period.
One of the innovative and interesting themes in the literature of the 60s was the theme of camps and Stalinist repressions.
One of the first works written on this topic was "Kolyma stories" by V. Shalamov. V. Shalamov is a writer with a difficult creative destiny. He himself went through the camp dungeons. He began his career as a poet, and in the late 50s-60s he turned to prose. In his stories, with a sufficient degree of frankness, camp life is conveyed, with which the writer was familiar firsthand. In his stories, he was able to give vivid sketches of those years, to show images not only of prisoners, but also of their guards, the heads of the camps where he had to sit. In these stories, terrible camp situations are recreated - hunger, dystrophy, humiliation of people by brutal criminals. The Kolyma Tales explores collisions in which the prisoner "swims" to prostration, to the threshold of non-existence.
But the main thing in his stories is not only the transmission of an atmosphere of horror and fear, but also the image of people who at that time managed to preserve the best human qualities in themselves, their willingness to help, the feeling that you are not only a cog in a huge machine of suppression, and above all a man in whose soul lives hope.
The representative of the memoir direction of "camp prose" was A. Zhigulin. Zhigulin's story "Black Stones" is a complex, ambiguous work. This is a documentary and artistic narrative about the activities of the KPM (Communist Youth Party), which included thirty boys who, in a romantic impulse, united for a conscious struggle against the deification of Stalin. It is built as the author's memories of his youth. Therefore, unlike the works of other authors, there is a lot of so-called "smart romance" in it. But at the same time, Zhigulin was able to accurately convey the feeling of that era. With documentary authenticity, the writer writes about how the organization was born, how the investigation was carried out. The writer very clearly described the conduct of the interrogations: “The investigation was generally conducted vilely ... The records in the protocols of interrogations were also vilely conducted. It was supposed to be written down word for word - how the accused answers. But the investigators invariably gave our answers a completely different color. For example, if I said: “Communist Party of Youth,” the investigator wrote down: “Anti-Soviet organization of the KPM.” If I said: "assembly," the investigator wrote "assembly." Zhigulin, as it were, warns that the main task of the regime was to "penetrate into thought" that had not even been born yet, to penetrate and strangle it to its cradle. Hence the premature cruelty of a self-adjusting system. For playing the organization, a semi-childish game, but deadly for both sides (which both sides knew about) - ten years of a prison-camp nightmare. This is how the totalitarian system works.
Another striking work on this topic was the story "Faithful Ruslan" by G. Vladimov. This work was written in the footsteps and on behalf of a dog specially trained, trained to lead prisoners under escort, “make a selection” from the same crowd and overtake hundreds of miles away crazy people who risked escaping. A dog is like a dog. kind, smart loving person more than a man himself loves his relatives and himself, a being destined by the dictates of fate, the conditions of birth and upbringing, the camp civilization that fell to his lot, to carry out the duties of a guard, and, if necessary, an executioner.
In the story, Ruslan has one production concern, for which he lives: this is to maintain order, elementary order, and the prisoners would maintain the established system. But at the same time, the author emphasizes that he is too kind by nature (brave, but not aggressive), smart, reasonable, proud, in the best sense of the word, he is ready for anything for the sake of the owner, even to die.
But the main content of Vladimirov's story is precisely to show: if something happens, and this case presented itself and coincides with our era, all the best opportunities and abilities not only of a dog, but of a person. The most sacred intentions are shifted, without knowing it, from good to evil, from truth to deceit, from devotion to a person to the ability to wrap a person, take a hand, a leg, take a throat, risking, if necessary, his own head, and turn stupid bunch named "people", "people" into the harmonic stage of the prisoners - into the ranks.
The undoubted classics of "camp prose" is A. Solzhenitsyn. His works on this topic appeared at the end of the thaw, the first of which was the story "One Day in the Life of Ivan Denisovich". Initially, the story was even called in the camp language: "Sch-854. (One day of a prisoner)". In a small "time-space" of the story, many human fates. These are, first of all, the captain Ivan Denisovich and the film director Tsezar Markovich. Time (one day) seems to flow into the space of the camp, in which the writer focused all the problems of his time, the whole essence of the camp system. He also devoted his novels “In the First Circle”, “Cancer Ward” and a large documentary and artistic study “The Gulag Archipelago” to the topic of the Gulag, in which he proposed his concept and periodization of the terror that unfolded in the country after the revolution. This book is based not only on the personal impressions of the author, but also on numerous documents and memoirs of the prisoners themselves.
In the late 1960s and early 1970s, in the literary process there was a movement of ideas and forms, a breakdown of the usual forms of narration. At the same time, a special type of prose was formed, which put forward concepts about personality and history, about absolute and pragmatic morality, about human memory in the ocean of mysteries of life, things. About intelligence and lumpenstvo. At different times, such prose was called differently, either “urban” or “social and household”, but in Lately behind it the term "intellectual prose" was strengthened.
Indicative of this type of prose were Y. Trifonov's stories "Exchange", "Preliminary results", "Long farewell", "The Old Man", V. Makanin "Forerunner", "Laz", "Averaging Plots", Y. Dombrovsky's story "Keeper antiquities”, which had a continuation hidden until 1978 in the form of his novel-testament “Faculty of unnecessary things”. In samizdat, the story of the philosophizing drunkard Wen began its journey. Erofeev "Moscow - Petushki": her hero had a fundamental gap in his biography - "I have never seen the Kremlin", and in general "I agreed to live forever if they show me a corner on earth where there is not always a place for a feat." Considerable success was accompanied by the appearance of V. Semin's story "Seven in one house", extremely lyrical, intimate stories and stories by V. Likhonosov "Bryansk", "I love you lightly", V. Krupin's story "Living Water", B. Yampolsky's novels "Moskovskaya street”, F. Gorenstein “Psalm”, “Place”, “Last summer on the Volga”. But the novel by A. Bitov, an artist obsessed with culture as the main material for creating personality, memory, and a system of introspection, is especially interesting - "Pushkin House".
The works of these writers are different in their intonation and style: these are the family stories of Trifonov, and the ironic-grotesque novels of Ven. Erofeev, and philosophical and cultural novel by A. Bitov. But in all these works, the authors interpret the world of man through culture, spiritual, religious and material and everyday.
5. At the end of the seventies, a direction was born in Russian literature, which received the conditional name of "artistic prose" or "prose of the forties" ("Older Seventies"). It is necessary to recognize the conventionality of this term, which only defines the age limits of writers or some features of style. The origins of artistic prose in the 20s of the last century, in the work of Yu. Olesha, M. Bulgakov, V. Nabokov.
The direction itself was not homogeneous, within it critics distinguished between analytical prose (T. Tolstaya, A. Ivanchenko, I. Polyanskaya, V. Iskhakov), romantic prose(V. Vyazmin, N. Isaev, A. Matveev), absurdist prose (V. Pietsukh, E. Popov, Vik. Erofeev, A. Vernikov, Z. Gareev). For all their differences, they all have one thing in common: the authors of this prose, often falling out of the "near" historical time, will certainly try to break through to the big time of mankind, civilization, and, most importantly, world culture. With one clarification, big time becomes big game.
One of the brightest representatives of this trend is T. Tolstaya. She is the author of many short stories and novels. The main theme of her work is the theme of childhood (the stories "They sat on the golden porch ...", "Date with a bird", "Love you do not love"). In these stories, the perception of the characters is absolutely adequate to the celebration of life. In T. Tolstoy, the childish look is endless, open, inconclusive, like life itself. But it is important to understand: Tolstoy's children are always children of fairy tales, children of poetry. They live in a fictional, illusory world.
The same motifs are present in A. Ivanchenko's prose (“Self-Portrait with a Friend”, “Apples in the Snow”). With him, the same contrast is evident between the festivity of the playful, artistic word and the wingless, barrenness of reality. And with Ivanchenko, childhood is experienced with pleasure again as a time for something beautiful and fabulous. Their heroes are trying to save their "I" in a fairy tale-illusion.
Vivid representatives of the romantic direction of artistic prose are V. Vyazmin and N. Isaev. Of great interest to critics was the novel by N. Isaev “A strange thing! An incomprehensible thing! Or Alexander in the Isles. The author accompanied his work with the genre subtitle "Happy modern Greek parody". All of his text is fantastic, cheerful, familiarly relaxed dialogues with Pushkin or on Pushkin's themes. It combines parody and paraphrase, improvisation and stylization, Isaev's jokes and Pushkin's poems, there is even a devil - Pushkin's playful interlocutor. He, in essence, is an ironic Pushkin encyclopedia. He builds his own, lyrical, free, therefore happily ideal world of culture, the world of poetry.
Hoffmann's tradition follows in his story "His House and Himself" V. Vyazmin. The multi-styled narrative also fits into the playful tone of the story. Here, next to the artistically stylized author's monologues, there is a layer of detective and fairy tale narration, right there - an old romantic short story, pages in a fabulous folklore manner, ancient Chinese parables, but the main place is occupied by the reflective monologues of the protagonist Ivan Petrovich Marinin. Both writers in their works create modern fairy tale or cultural utopia, which is impossible in real life, but is a way out for the heroes of their works.
The characters Pyetsukha, Popova and Vik build their world in a different way. Erofeev. The dual world is also a criterion for evaluating contemporary reality for them. But they believe that life is more fantastic than fiction, and therefore their works are based on showing the absurdity and chaos of our world. In this regard, it is necessary to single out the novels and stories "The Flood", "The New Moscow Philosophy", "The Scourge of God", "The Central Yermolaev War", "Me and the duelists", "Theft", "The Secret" by V. Pyetsukh, "The Soul of a Patriot , Or Various Messages to Fefichkin”, “Bus Station”, “Bright Path”, “How They Ate a Rooster”, “Strange Coincidences”, “Electronic Button accordion”, “No, not about that”, “Schiglya”, “Green Array”, “Like a fleeting vision”, “Drummer and his drummer wife”, “Aunt Musya and Uncle Leva” by E. Popova, “Parrot”, “Letter to Mother” Vik. Erofeev.
In the works of the authors of this direction, the situation of decomposition and collapse of social foundations, a sense of the relativity of values and the boundless openness of consciousness is expressed, it becomes a sign of an impending catastrophe and global upheavals, which is expressed in the constant coexistence of two worlds in the minds of the characters: the real and the unreal, which exist independently of each other. friend.
6. The process of deepening historicism takes place in historical prose proper. The historical novel, which was on the rise in the 70s (which made it possible for critics to talk about the revival of historical prose), is of particular relevance in the context of the modern literary movement. First of all, the variety of themes and forms of modern historical prose draws attention to itself. A cycle of novels about the Battle of Kulikovo (“Atonement” by V. Lebedev, “Kulikovo Field” by V. Vozovikov, “Chur me” by B. Dedyukhin), novels about Razin, Ermak, Volny Novgorod bring new things to the interpretation of Russian history in comparison with historical prose previous decades.
Modern searches in the field of artistic form (lyricism and at the same time strengthening the role of the document, the growth of the philosophical principle, and hence the gravitation towards conditionally symbolic devices, parable imagery, free circulation with the category of time) have also touched the prose dedicated to past eras. If in the 20-30s - the time of the formation of historical romance - the historical character appeared as the embodiment of a certain socio-economic pattern, then the prose of the 70-80s, without losing this important achievement, goes further. It shows the relationship of personality and history in a more multifaceted and indirect way.
"Atonement" by V. Lebedev is one of the significant novels about the Battle of Kulikovo. The image of Dmitry Donskoy, a statesman, diplomat and commander, skillfully uniting the forces of the emerging Russian nation, is in the center of the artist's attention. Showing the burden of responsibility historical figure For the fate of the people and the state, the writer does not bypass the complex contradictions of the era.
In the novels "Martha the Posadnitsa", "The Great Table", "The Burden of Power" and "Simeon the Proud" D. Balashov shows how the idea of the unification of Rus' was formed and won, forged in endless civil strife and the struggle against the Horde yoke. The writer devotes the last two novels to the theme of creating a centralized Russian state headed by Moscow.
The novels of V. Pikul, dedicated to various stages of Russian life in the 18th-20th centuries, became widely known. Among them, such works as "Pen and Sword", "Word and Deed", "Favorite" are especially distinguished. The author draws on the richest historical and archival material, introduces a huge number of characters, covering many events and a number of figures in Russian history in a new way.
An interesting and unusual documentary novel-essay "Memory" by V. Chivilikhin. Additional genre clarification was required, apparently, because bold scientific hypotheses are organically woven into the fictionalized fabric of the work - the fruits of a huge research work. The writer told about the fierce battles with foreign enslavers and about the origins of the spiritual greatness of the Russian people, who threw off the Mongol-Tatar yoke in a long and hard struggle. Here the distant past of Russia, the Middle Ages, the Decembrist epic are connected by a single thread with our already close history and today. The author is attracted by the diversity of properties and features of the Russian national character, its interaction with history. Our modernity is also a link in the memory of countless generations. It is memory that acts as a measure of human conscience, that moral coordinate, without which efforts crumble to dust, not cemented by a high humanistic goal.
Fedor Alexandrovich Abramov (1920-1983) did not know the student period. Before the start of his career, he was already a well-known literary scholar.
His first novel "Brothers and Sisters" immediately brought him fame. This novel became the first part of the Pryasliny tetralogy. The stories "Fatherlessness", "Pelageya", "Alka", as well as the collection of stories "Wooden Horses" were a notable phenomenon in the literature of the 60s. Fyodor Abramov in his works depicts the life and life of the village, from the war years to the present day, and pays close artistic attention to the origins of the national character, and gives the fate of ordinary people in relation to the historical fate of the people. Village life in different historical periods is the main theme of F. Abramov's work. His tetralogy "Pryasliny" ("Brothers and Sisters", "Two Winters and Three Summers", "Roads and Crossroads", "Home") depicts the life of the northern village of Pekashino, the beginning of the action refers to the spring of 1942, the end - to the beginning of 70 -s.
The novel is a story of several generations. peasant families. The moral problems of human relationships, the problems of leadership are posed, the role of the individual and the team is revealed. Significant is the image of Anfisa Petrovna, who was promoted to chairman of the collective farm during the harsh years of the war. Anfisa Petrovna is a woman of strong character and great diligence. She managed to organize work on the collective farm in the difficult military hard times, to pick up the key to the hearts of her fellow villagers. It combines demandingness and humanity.
Having shown the life of the village without embellishment, its hardships and needs, Abramov created the typical characters of representatives of the people, such as Mikhail Pryaslin, his sister Lisa, Yegorsha, Stavrov, Lukashin and others.
Mikhail Pryaslin, after his father left for the front and after his death, despite his youth, becomes the owner of the house. He feels responsible for the life of his brothers and sisters, his mother, for work on the collective farm.
The character of his sister Lisa is full of charm. Her small hands are not afraid of any work.
Yegorsha is the antipode of Mikhail in everything. Cheerful, witty and resourceful opportunist, he did not want and did not know how to work. He directed all the forces of his mind to live by the principle: "Wherever you work, just don't work."
Mikhail Pryaslin in the first books of the tetralogy directs all his efforts to save his large family from want and therefore stands aside from public life. But at the end of the work, Mikhail becomes an active participant in it, grows as a person. Abramov showed that, despite all the difficulties and troubles, the inhabitants of the village of Pekashino lived in the difficult years of the war with faith in victory, hope for a better future, and worked tirelessly to make dreams come true. Depicting three types of village leaders - Lukashin, Podrezov, Zarudny, Abramov gives sympathy to Lukashin, who follows the democratic principles of leadership, combining principles with humanity.
The writer showed us how scientific and technological progress invades the life of the village, changes its appearance and characters. At the same time, the writer expresses regret that centuries-old traditions are leaving the village, generalizing the people's experience, reflecting the moral richness of the people's soul.
In the novel "House" Abramov poses the problem of the father's home, Motherland, morality. The writer reveals the highly moral world of Lisa, her cordiality, disinterestedness, kindness, loyalty to her father's house makes Mikhail Pryaslin condemn himself for callousness and heartlessness towards his sister.
Viktor Petrovich Astafiev (1924-20000) attracted the attention of readers and critics with the stories "Pass" and "Starodub".
The story "Starodub" is dedicated to Leonid Leonov. Following the outstanding prose writer, V. Astafiev poses the problem of man and nature. Feofan and his adopted son Kultysh are perceived by others as wild wayward people who are incomprehensible to many. The writer reveals wonderful human qualities in them. They carry a loving and touching attitude towards nature, they are true children and keepers of the taiga, they sacredly observe its laws. They take under their protection the fauna and rich forests. Considering the taiga as the guardian of natural wealth, Feofan and Kultysh treat the gifts of nature with a pure heart and demand this from others, firmly believing that they severely punish both predators and people who exterminate the animal world, regardless of its laws.
The stories "Theft" and "The Last Bow" are autobiographical in nature. The story "The Last Bow" shows the continuation of the tradition of Gorky's autobiographical works, in which the fate of the hero is depicted in close unity with the fate of the people. But at the same time, Astafiev's story is an original and original work. The childhood of little Vitya, who lost his mother early and was left with a drunkard father, who soon after the death of his wife (she drowned in the Yenisei) remarried, was difficult and joyless. Grandmother Katerina Petrovna helped Vita to survive, taught him the harsh but fair laws of life.
In the image of the grandmother, one can see to some extent the features of Alyosha's grandmother - Akulina Ivanovna from Gorky's story "Childhood". But Katerina Petrovna is a peculiar, unique character. A great hard worker, a stern strong-willed peasant woman in the northern village, she is at the same time a person capable of great strict love for people. She is always active, courageous, fair, ready to help in days of grief and trouble, intolerant of lies, falsehood, cruelty.
The story "Somewhere the War Thunders" is included in the autobiographical cycle "The Last Bow". The war was a national tragedy. And although she did not directly come to a distant Siberian village, she determined life here, the behavior of people, their actions, dreams, desires. The war took a heavy toll on the life of the people. Huge work fell to the lot of women and adolescents. The funeral carried the tragedy not only to the house of the deceased, but to the whole village.
V. Astafiev showed the courage and steadfastness of the people, their inflexibility under all the hardships of war, faith in victory, heroic work. The war did not harden people who were capable of "genuine, uncomposed love for their neighbor." The story created memorable characters of the saddler Darya Mitrofanovna, aunts Augusta and Vasenya, uncle Levontiy, children - Kesha, Lidka, Katya and others.
The story "Starfall" is a lyrical story about love. It is the most ordinary, this love, and at the same time the most extraordinary, such as no one has ever had, and never will. The hero, who is in the hospital after being wounded, meets with the nurse Lida. The author, step by step, traces the origin and development of love, which enriched the souls of the heroes, made them look at the world with different eyes. The heroes part and lose each other, "but the one who loved and was loved is not afraid of longing for her and thoughts."
In the story "The Shepherd and the Shepherdess" there are two temporal aspects: the present time and the events of the war - fierce battles in Ukraine in February 1944.
The roar and clang of war, the mortal danger that lies in every battle, cannot, however, drown out the human in a person. And Boris Kostyaev, having gone through the strongest trials of the war, did not lose the ability for an all-consuming human feeling. His meeting with Lucy was the beginning of a great love, a love that is stronger than death itself. This meeting opened up a whole world for Boris, unknown and complex.
The action of the story "The Sad Detective" takes place in the regional city of Veysk. The protagonist of the novel is police officer Leonid Soshnin, a man who makes great demands on himself. He studies in absentia at the Pedagogical Institute, reads a lot, independently mastered German. Soshnina distinguishes humane attitude towards people, intolerance towards criminals of all kinds. The story contains a lot of writer's reflections on the disturbing facts of our life that excite Astafiev.
The originality and extraordinary ability to reflect the greatness of the soul of the people are characteristic of the prose of Vasily Ivanovich Belov (born in 1932), who entered literature in the 60s. In the center of Belov's stories and essays is his native forest and lake side of Vologda. The writer with great artistic power and expressiveness draws the life and customs of the Vologda village. But Belov cannot be called a regional writer. In his heroes, he managed to reveal the typical features of people of our time. In the characters created by Belov, national folk traditions and features of modernity are surprisingly intertwined. The writer acts as a singer of nature, which helps his characters survive adversity, awakens in them genuine human qualities.
The landmark work of Belov was the story "The Usual Business". Talking about the ordinary people of the village - Ivan Afrikanovich, his wife Katerina, grandmother Evstolya and others, the writer emphasizes the richness of their inner world, the wisdom of their worldly philosophy, the ability to have a great sense of unity, patient overcoming difficulties, inexhaustible diligence. Ivan Afrikanovich is both a hero and not a hero. Member of the Great Patriotic War, wounded more than once and never let his comrades down, in the conditions peaceful life he is not distinguished by energy, perseverance, the ability to alleviate the plight of his wife Katerina, to arrange the life of his large family. He simply lives on earth, rejoices in all living things, realizing that it is better to be born than not to be born. And in this consciousness, he inherits the traditions of his people, always relating to life and death philosophically, understanding the purpose of man in this world.
In the Russian village, Belov reveals the connection and continuity of generations, the humane principle in relation to all living things, coming from the depths of centuries. It is important for the writer to reveal the greatness of the moral qualities of the people, their wise attitude to the world around them, to nature, to man.
If in the well-known works of Belov "The Habitual Business", "Eve", "Lad" the image of the village, the fate of its inhabitants was given, then the action of the writer's novel "All Ahead" takes place in Moscow. The heroes of the novel Medvedev, Ivanov are characterized by persistent spiritual purity, high morality. They are opposed by the careerist Mikhail Brish, a vile and immoral man who not only invaded someone else's family, but also did everything so that the children would forget their father. Undoubtedly, Belov failed to reflect the life of the capital with such artistic power and authenticity as the life of the village. But the novel poses acute moral problems, such as, for example, the destruction of the family, which, unfortunately, are characteristic of the life of modern society.
Vasily Makarovich Shukshin (1929-1974) left a deep mark on literature. Shukshin was attracted by the complex spiritual world of the villagers who went through the events of the revolution, civil war, collectivization, survived during the Great Patriotic War. With extraordinary power and artistic expressiveness, the writer creates the most diverse types of human characters. His characters have complex, sometimes dramatic destinies, always making readers think about how the fate of one or another of them can turn out.
Shukshin made the reader understand that an ordinary person, an ordinary worker, is not as simple as it seems at first glance. Rapprochement with the city is considered by the writer as a complex phenomenon. On the one hand, this broadens the horizons of the villagers, introducing them to state of the art culture, and on the other hand, the city shook the moral and ethical foundations of the village. Once in the city, the villager felt free from those habitual norms that were characteristic of the village. With this, Shukshin explains the callousness, alienation of the people of the city, who came from the village and forgot about the moral traditions that for centuries determined the life of their fathers and grandfathers.
Shukshin is a humanist writer in the highest sense of the word. He managed to see in the life of "freaks" - people who have a philosophical mindset and are not satisfied with the philistine life. Such, for example, is the hero of the story “Microscope”, carpenter Andrey Erin, who bought a microscope and declared war on all microbes. Dmitry Kvasov, a state farm driver who planned to create a perpetual motion machine, Nikolai Nikolaevich Knyazev, a TV repairman who filled eight common notebooks with treatises “On the State”, “On the Meaning of Life”. If “freaks” are people who are mainly looking for and affirming the ideas of humanism in their searches, then the opposite “anti-freaks” - people with a “shifted conscience” - are ready to do evil, are cruel and unfair. Such is Makar Zherebtsov from the story of the same name.
In the image of the village, Shukshin continues the traditions of the Russian classical literature. At the same time, it reflects the complex relationship between the inhabitants of the city and the countryside in our time.
The village and its inhabitants went through difficult historical events. This is not a single peasantry. And people of various professions: both machine operators, and drivers, and agronomists, and technicians, and engineers, up to the new priest, calling to believe in industrialization, technology (“I believe!”).
A distinctive feature of the artist Shukshin is sharp feeling modernity. His characters talk about space flight, to the Moon, Venus. They oppose the old obsolete notions of petty-bourgeois satiety and well-being. Such are the schoolboy Yurka (“Space, the nervous system and the shmat of fat”), Andrey Erin (“Microscope.”) The heroes of Shukshin’s stories are persistently looking for the meaning of life and trying to determine their place in it (“Conversations under a clear moon”, “Autumn”).
Much attention in Shukshin's stories is paid to the problem of personal relationships, in particular within the family (" Villager”, “Some”, “Husband’s wife saw off to Paris”). Here is the disagreement between fathers and children, and disagreement in family relations, and the different views of the characters on life, work, on their duty and duties.
Creating the characters of his contemporaries, Shukshin clearly understood that their origins are the history of the country and the people. In an effort to reveal these origins, the writer turned to the creation of novels, such as "Lubavins" about the life of a remote Altai village in the 20s and "I came to give you freedom" about Stepan Razin.
The work of Valentin Grigoryevich Rasputin (born in 1937) is characterized by the development of moral, ethical and moral problems. His works “Money for Mary”, “Deadline”, “Live and Remember”, “Farewell to Mother”, “Fire”, stories were highly appreciated by critics and recognized by readers.
The writer draws with great skill female characters. The image of old Anna from the story "Deadline" is remembered. Anna's life was harsh, she worked tirelessly on the collective farm, raised children. Overcame the hardships of wartime, but did not lose heart. And when she feels the approach of death, she treats her like a folk wisely and calmly. Anna's children. Those who came from different places to say goodbye to their mother no longer carry those highly moral qualities that are characteristic of Anna. They lost their love for the earth, lost and family ties and the death of their mother is of little concern to them.
Important contemporary issues reflected in the story "Farewell to Matera". Matera is a village located on a small island in the middle of the Angara. In connection with the construction of the future hydroelectric power station, it will be flooded, and its inhabitants will move to a new village. The author with great force and penetration managed to convey the difficult experiences of the older generation of the village. For old Daria, who lived her life here, the flooding of the village is a great grief. She understands that the hydroelectric power station is needed, but it is difficult for her to part with the hut, with her native graves. She is preparing to leave her hut solemnly, strictly. Knowing that the hut will be burned down, but remembering that her best years have passed here, she washes, bleaches, cleans everything in the hut. It is difficult to part with their native places and her son Pavel. Daria's grandson Andrei takes everything quite calmly, without any worries. He is passionate about the romance of new construction projects, and he does not feel sorry for Mater at all. Daria was very offended that, leaving forever his native nest, the grandson did not show respect for his father's house, did not say goodbye to the land, did not walk around his native village for the last time.
Rasputin makes the reader feel Andrei's callousness and heartlessness, his disrespect for the traditions of his relatives. In this, the writer is close to Shukshin, Abramov, Belov, who write with anxiety about the indifference of young people to their father's house, about their oblivion of folk traditions that have been passed down from generation to generation for centuries.
In his short story "Fire" Rasputin makes the reader think about the situation in which the country found itself. In the troubles of a small village of lumberjacks-temporary workers, the disturbing phenomena of life, characteristic of the whole society, are focused.
The writer spoke excitedly and artistically about the loss of the feeling of the master of his country, the mood of hired workers, indifferent to what will happen after them with the village where they live, and with the country as a whole, about drunkenness, the fall of moral principles. Rasputin's story was a great success and was highly appreciated by readers.
Vasil Bykov is the only one of the writers who has retained his devotion exclusively to the military theme. In his works, he focuses on the problem of the price of victory, the moral activity of the individual, the value of human life. The moral climax of the story "Kruglyansky Bridge" was that Britvin, the senior in the group of subversive partisans, guided by the soulless principle that "war is a risk to people, whoever risks more wins," sent the young boy, the son of the local policeman, Another partisan Styopka in anger tries to shoot Britvin for this. So the author passionately advocated that even in war a person should live according to his conscience, not compromise the principles of high humanity, not risk other people's lives, sparing his own.
The problem of the humanistic value of the individual arises in a variety of works. Bykov is especially interested in such situations in which a person, left alone, should be guided not by a direct order, but by his own conscience. Teacher Frost from the story "Obelisk" brought up kind, bright, honest children in children. And when the war came, a group of guys from his small rural school out of a heart impulse, albeit recklessly, staged an assassination attempt on a local policeman, deservedly nicknamed Cain. The children were arrested. The Germans started a rumor that they would let the guys go if a teacher who had taken refuge with the partisans appeared. It was clear to the partisans that a provocation was planned, that the Nazis would not let the teenagers go anyway, and from the point of view of practical meaning, it was pointless for Frost to appear to the police. But the writer says that in addition to the pragmatic situation, there is also a moral one, when a person must confirm with his life what he taught, what he convinced. He could not teach, could not continue to convince, if at least one person thought that he had chickened out, left the children at a fatal moment. To strengthen faith in ideals among desperate parents, to preserve fortitude in children - that was what Frost was preoccupied with until the last step, encouraging the guys, going with them to the execution. The guys never knew that Frost had come to the police for them: he did not want to humiliate them with pity, did not want them to be tormented by the thought that their beloved teacher had suffered because of their hasty, inept assassination. In this tragic story, the writer complicates the task by introducing a second action. Moroz's motives were condemned by some as reckless suicide, and that is why after the war, when an obelisk was erected at the site of the execution of schoolchildren, his name was not there. But precisely because that good seed sprouted in the souls of people, which he planted with his feat. There were also those who still managed to achieve justice. The name of the teacher was added on the obelisk next to the names of the heroes-children. But even after that, the author makes us witnesses of a dispute in which one person says: “I don’t see any special feat behind this Frost ... Well, in fact, what did he do? Did he kill even one German? In response, one of those in whom a grateful memory is alive answers: “He did more than if he had killed a hundred. He put his life on the block, he voluntarily. You understand what this argument is. And in whose favor ... ”This argument just relates to the moral sphere: to prove to everyone that your convictions are stronger than threatening death. To step over the natural sense of self-preservation, the natural thirst to survive, to survive - this is where the heroism of an individual begins.
In his works, Bykov likes to bring together characters that are contrasting in character. This is what happens in the story "Sotnikov". The noose around Sotnikov and Rybak, the partisan scouts who are supposed to get food for the partisan detachment, is getting tighter and tighter. After a shootout, the partisans managed to break away from the persecution, but due to Sotnikov's injury, they were forced to take refuge in the village in Demchikha's hut. There, they are deprived of the opportunity to shoot back and are seized by the police. And so they undergo terrible tests in captivity. This is where their paths diverge. Sotnikov chose a heroic death in this situation, and Rybak agreed to join the police, hoping to later run across to the partisans. But forced by the Nazis, he pushes the block out from under the feet of a former comrade-in-arms, on whose neck a noose is thrown. And there is no turning back for him.
The writer slowly recreates in Sotnikov the character of a whole person, consistent in his heroic life and death. But the story has its own turn in the depiction of the heroic. To do this, Bykov correlates every step of Sotnikov with every step of Rybak. For him, it is important not to describe another heroic deed, but to explore those moral qualities that give a person strength in the face of death.
The first works of Alexander Isaevich Solzhenitsyn (born in 1918) published in the early 1960s, the story One Day in the Life of Ivan Denisovich, the story Matrenin Dvor, appeared at the end of the Khrushchev thaw. In the writer's legacy, they, like other short stories of those years: "The Incident at the Kochetovka Station", "Zakhar Kalita", "Baby", remain the most indisputable classics. On the one hand, the classics of "camp" prose, and on the other, the classics of "village" prose.
The most significant are the writer's novels "In the First Circle", "Cancer Ward", "Gulag Archipelago" and "Red Wheel".
In a certain sense, "In the First Circle" is a novel about the stay of the hero-intellectual Nerzhin in a closed research institute, in a "sharashka". In the novel, Nerzhin, in a series of conversations with other prisoners, with the critic Lev Rubin, the engineer-philosopher Sologdin, finds out for a long time and painfully: who in a bonded society lives a lie to a lesser extent. These know-it-alls-intellectuals, albeit suffering or the janitor Spiridon, yesterday's peasant. As a result, he comes, after a whole series of disputes, extremely sharp, deep, to the idea that, perhaps, Spiridon, who does not understand the many vicissitudes of history and his fate, the reasons for the grief of his family, nevertheless lived more naively and cleaner, more moral, more unpretentious than these know-it-alls, ready to serve evil for a scientific degree, laureate badge, etc. Those whom Solzhenitsyn would later call "educated" are intellectuals corrupted by handouts.
The author himself figuratively defined "the Gulag Archipelago" as "our petrified tear", as a requiem for the Russian Golgotha. With all the thoroughness of collecting documents about the technology of means, courts, executions ("In the engine room", "GULAG Trains", etc.), transporting prisoners, being a camp in Solovki ("there is not Soviet power, but ... Solovki) etc. Solzhenitsyn's book appears to be much larger than those works that denounced terror, the excesses of repression as distortions of the general line of the party. his favorite idea - the idea of victory over evil through sacrifice, through non-participation, albeit painful in lies. At the end of his book-requiem, a sentence on totalitarianism, Solzhenitsyn utters words of gratitude to the prison, which so cruelly united him with the people, made him involved in the people's fate.
"The Red Wheel" is a thoughtful tragic novel, a chronicle with a completely unique image of the author-narrator, with an extremely active self-moving historical background, with the continuous movement of fictional and real characters. Subordinating the historical process to strictly marked deadlines ("The Red Wheel" is a series of knot novels like "August the Fourteenth", "October the Sixteenth", etc.), Solzhenitsyn inevitably relegates fictional characters to the background. All this creates the grandeur of the panorama: the abundance of characters, the sharpness of situations in the royal headquarters, and in the Tambov village, and in Petrograd, and in Zurich, gives a special load to the voice of the narrator, the entire stylistic system.
As critics note, many stories by Yuri Trifonov are based on everyday material. But it is life that becomes the measure of the actions of his heroes.
In the story "Exchange", the main character Viktor Dmitriev, at the insistence of his quick wife Rita (and her relatives Lukyanov), decided to move in with his already terminally ill mother, that is, to make a double exchange, to rise to a more prestigious level in terms of housing. The hero's throwing around Moscow, the blunt pressure of the Lukyanovs, his trip to the dacha to the Krasny Partisan cooperative, where his father and brothers, people with a revolutionary past, once lived in the 1930s. And the exchange, contrary to the wishes of the mother herself, is accomplished. But it turns out that the "exchange" was completed much earlier. Sick Ksenia Feodorovna, the guardian of some kind of moral height, a special aristocracy, tells her son about his decrease in “lukyanization”: “You have already exchanged, Vitya. The exchange has taken place ...” There was silence again. it was a long time ago, and it always happens, every day, so don't be surprised, Vitya. And don't get angry. It's just so imperceptible."
In another story, "Preliminary results", the hero - a translator, exhausting his brain and talent, translating for the sake of money a ridiculous poem by a certain Mansur "Golden Bell" (the nickname of an oriental girl given to her for her sonorous voice), changes something sublime to average, standard, made to measure. He is able to evaluate his work almost on the verge of self-mockery: “I can practically translate from all languages of the world, except for German and English, which I know a little - but here I don’t have enough spirit or, perhaps, conscience.” But an even stranger exchange, from which the hero runs away, but which he eventually comes to terms with, takes place in his family, with his son Cyril, his wife Rita, chasing icons as a piece of furniture, having learned the cynically simplified morality of Hartwig's tutor, Larisa's friend. Icons, Berdyaev's books, Picasso's reproductions, Hemingway's photography - all this becomes a subject of vanity and exchange.
In the story "The Long Goodbye" both the actress Lyalya Telepneva and her husband Grisha Rebrov live in a state of exchange, dispersion of forces, composing obviously average plays. Exchange, chronic failure accompany them even when there are no roles, there is no success, and even when Lyalya suddenly found success in a high-profile performance based on Smolyanov's play.
Trifonov is very sorry for his compliant heroes, willing to exchange, delicate, soft, but he also saw the impotence of their aristocracy.
