"Villagers", analysis of Shukshin's story. Composition “The theme of the city and the village in the stories of V. Shukshin An essay on literature on the topic: The theme of the city and the village in the stories of V. Shukshin

Vasily Makarovich Shukshin was born in 1929 in Altai into a peasant family. Military childhood, work on a collective farm, attempts to settle in the city, changing many working professions - all this tempered the character of the future writer and enriched him with invaluable life experience. In 1954, Shukshin entered VGIK, met director I. Pyriev, studied at the workshop of M. Romm and S. Gerasimov, on the same course as Andrei Tarkovsky. He worked as an actor and director, was awarded many awards for his cinematic activities. In parallel with the main work, he began to write stories.

Shukshin became one of the creators of village prose. The writer published his first work, the story "Two on a Cart", in 1958. Then for fifteen years literary activity he published 125 short stories. In the collection of short stories "Villagers", the writer included the cycle "They are from the Katun", in which he spoke with love about his fellow countrymen and his native land.

The writer's works differed from what Belov, Rasputin, Astafiev, Nosov wrote within the framework of rural prose. Shukshin did not admire nature, did not go into lengthy discussions, did not admire the people and village life. His short stories- these are episodes snatched from life, short scenes where the dramatic is interspersed with the comic.

The heroes of Shukshin's village prose often belong to the famous literary type « little man". The classics of Russian literature - Gogol, Pushkin, Dostoevsky - more than once brought out similar types in their works. The image remained relevant for rural prose. While the characters are typical, Shukshin's heroes are distinguished by an independent view of things, which was alien to Akaky Akakievich Gogol or stationmaster Pushkin. Men immediately feel insincerity, they are not ready to submit to fictitious city values. Original little people - that's what Shukshin did.

In all his stories, the writer draws two different worlds: a city and a village. At the same time, the values of the first poison the second, violating its integrity. Shukshin writes about the opportunism of the townspeople and spontaneity, an open look at the world of the village peasants.

The protagonist of the story "Freak" is Vasily Knyazev, a thirty-nine-year-old mechanic. Shukshin's manner of beginning his stories is remarkable. There is no introduction as such, the writer immediately brings the reader up to date: “The wife called him - Freak. Sometimes kindly. The weirdo had one feature: something constantly happened to him. The speaking name tells us that the hero is different from other people, his behavior is atypical. Examples and event outline only confirm this fact. At the same time, many episodes of the stories, including the Freak, are autobiographical. Shukshin describes events from his own life, the realities known to him, talks about his native land for the writer. For example, a strange case when Chudik drops money and then cannot pick it up happened to Shukshin himself.

The eccentric is strange for city dwellers, the attitude of his own daughter-in-law towards him borders on hatred. At the same time, the unusual, immediacy of Chudik and people like him, according to Shukshin's deep conviction, makes life more beautiful. The author talks about the talent and beauty of the soul of his weirdo characters. Their actions are not always consistent with our usual patterns of behavior, and their values are amazing. He falls out of the blue, loves dogs, marvels at human malice, and as a child wanted to become a spy.

About the people of the Siberian village the story "Villagers". The plot is simple: the family receives a letter from their son with an invitation to come to visit him in the capital. Grandmother Malanya, grandson of Shurk and neighbor Lizunov represent such a trip as a truly epoch-making event. Innocence, naivety and spontaneity are visible in the characters of the heroes, they are revealed through a dialogue about how to travel and what to take with you on the road. In this story, we can observe the skill of Shukshin in terms of composition. If in "The Freak" it was about an atypical beginning, then here the author gives an open ending, thanks to which the reader himself can complete and think out the plot, give assessments and sum up.

It is easy to see how carefully the writer relates to the construction of literary characters. Images with a relatively small amount of text are deep and psychological. Shukshin writes about the feat of life: even if nothing remarkable happens in it, it is equally difficult to live every new day. material from the site

The material for the film "Such a guy lives" was Shukshin's story "Grinka Malyugin". In it, a young driver performs a feat: he takes a burning truck into the river so that barrels of gasoline do not explode. When a journalist comes to the hospital to see the wounded hero, Grinka is embarrassed by words about heroism, duty, and saving people. The striking modesty of the character borders on holiness.

All of Shukshin's stories are characterized by the manner of speech of the characters and a bright, rich stylistically and artistic style. Various shades of live colloquial speech in Shukshin's works look in contrast to the literary clichés of socialist realism. The stories often contain interjections, exclamations, rhetorical questions, marked vocabulary. As a result, we see natural, emotional, living characters.

The autobiographical nature of many of Shukshin's stories, his knowledge of rural life and problems gave credibility to the troubles that the author writes about. The opposition of the city and the countryside, the outflow of young people from the village, the dying of villages - all these problems are widely covered in Shukshin's stories. He modifies the type of a small person, introduces new features into the concept of the Russian national character, as a result of which he becomes famous.

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Introduction

1. Description of the Russian national character in the works of writers

2. Vasily Shukshin

3. The originality of the heroes of Shukshin

4. The image of the Russian village in the works of V.M. Shukshina

Conclusion

List of used literature

Introduction

In Russian literature, the genre of rural prose differs markedly from all other genres. What is the reason for this difference? One can talk about this for an exceptionally long time, but still not come to a final conclusion. This is because the scope of this genre may not fit within the description of rural life. Works that describe the relationship between people of the city and the countryside, and even works in which main character not a villager at all, but in spirit and idea, these works are nothing more than village prose.

IN foreign literature there are very few works of this type. There are many more of them in our country. This situation is explained not only by the peculiarities of the formation of states, regions, their national and economic specifics, but also by the character, "portrait" of each people inhabiting a given area. In the countries of Western Europe, the peasantry played an insignificant role, and the entire folk life seething in the cities. In Russia, since ancient times, Russian villages occupied the most leading role in history. Not by the power of power (on the contrary - the peasants were the most disenfranchised), but in spirit - the peasantry was and probably still remains the driving force of Russian history. It was from the dark, ignorant peasants that Stenka Razin, and Emelyan Pugachev, and Ivan Bolotnikov came out, it was because of the peasants, more precisely because of serfdom, that cruel struggle took place, the victims of which were both tsars, and poets, and part of the outstanding Russian intelligentsia of the 19th century. Due to this, works covering this topic occupy a special place in the literature.

Modern village prose plays an important role in the literary process today. This genre today rightfully occupies one of the leading places in terms of readability and popularity. The modern reader is concerned about the problems that are raised in the novels of this genre. These are questions of morality, love for nature, a good, kind attitude towards people and other problems that are so relevant today. Among the writers of our time who wrote or are writing in the genre of rural prose, the leading place is occupied by such writers as Viktor Petrovich Astafiev ("The Tsar-fish", "The Shepherd and the Shepherdess"), Valentin Grigoryevich Rasputin ("Live and Remember", "Farewell to Mother "), Vasily Makarovich Shukshin ("Villagers", "Lubavins", "I came to give you freedom") and others.

Vasily Makarovich Shukshin occupies a special place in this series. His original work attracted and will attract hundreds of thousands of readers not only in our country, but also abroad. After all, one can rarely meet such a master of the folk word, such a sincere admirer of his native land, as this outstanding writer was.

Target term paper to define the world of the Russian village in the stories of V.M. Shukshin.

1 . DescriptionRussian nationallythcharacterin workswriters

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 - artistic creativity and the national sense of the world is 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!" - Latin) speaks of the special strings of the human soul, which 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 depiction 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 like to focus on the image 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 life of Agafia, her selfless work, love for native land, to every tussock and every blade of grass, 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 also a miracle in the story: despite the "extortion", Agafya, having built a hut, lives in it "without one year for twenty years", that is, she will be rewarded with 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.

Storyline, character main character, the circumstances of her life, the story of a forced move - everything refutes the common ideas about 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.

2 . Vasily Shukshin

Vasily Makarovich Shukshin was born in 1929 in the village of Srostki, Altai Territory. And through the whole life of the future writer, the beauty and severity of those places ran like a red thread. It was thanks to his small homeland that Shukshin learned to appreciate the land, the labor of a person on this earth, learned to understand the harsh prose of rural life. Right from the start creative way he discovered new ways in the depiction of man. His heroes turned out to be unusual in terms of their social status, life maturity, and moral experience. Having already become a fully mature young man, Shukshin goes to the center of Russia. In 1958, he made his film debut ("Two Fedoras"), as well as in literature ("The Story in the Cart"). In 1963, Shukshin released his first collection, Villagers. And in 1964, his film "Such a Guy Lives" was awarded the main prize at the Venice Film Festival. Shukshin comes to worldwide fame. But he doesn't stop there. Years of hard and painstaking work follow. For example: in 1965 his novel "Lubavins" was published and at the same time the film "Such a guy lives" appeared on the screens of the country. Only by this example alone can one judge with what dedication and intensity the artist worked.

Or maybe it's haste, impatience? Or the desire to immediately establish oneself in literature on the most solid - "novel" basis? Certainly not. Shukshin wrote only two novels. And as Vasily Makarovich himself said, he was interested in one topic: the fate of the Russian peasantry. Shukshin managed to touch a nerve, break into our souls and make us ask in shock: "What is happening to us"? Shukshin did not spare himself, he was in a hurry to have time to tell the truth, and to bring people together with this truth. He was obsessed with one thought that he wanted to think out loud. And be understood! All the efforts of Shukshin - the creator were directed towards this. He believed: "Art - so to speak, to be understood ..." From the first steps in art, Shukshin explained, argued, proved and suffered when he was not understood. He is told that the film "Such a guy lives" is a comedy. He is perplexed and writes an afterword to the film. At a meeting with young scientists, a tricky question is thrown at him, he puts it out, and then sits down to write an article ("Monologue on the Stairs").

3 . The originality of the heroes of Shukshin

Shukshin became one of the creators of rural prose. The writer published his first work, the story "Two on a Cart", in 1958. Then, during fifteen years of literary activity, he published 125 stories. In the collection of stories "Villagers", the writer included the cycle "They are from the Katun", in which he spoke with love about his fellow countrymen and his native land.

The writer's works differed from what Belov, Rasputin, Astafiev, Nosov wrote within the framework of rural prose. Shukshin did not admire nature, did not go into long discussions, did not admire the people and village life. His short stories are episodes snatched from life, short scenes where the dramatic is interspersed with the comic.

The heroes of Shukshin's village prose often belong to the well-known literary type of the "little man". The classics of Russian literature - Gogol, Pushkin, Dostoevsky - more than once brought out similar types in their works. The image remained relevant for rural prose. While the characters are typical, Shukshin's heroes are distinguished by an independent view of things, which was alien to Akaky Akakievich Gogol or Pushkin's stationmaster. Men immediately feel insincerity, they are not ready to submit to fictitious city values. Original little people - that's what Shukshin did.

The autobiographical nature of many of Shukshin's stories, his knowledge of rural life and problems gave credibility to the troubles that the author writes about. The contrast between the city and the countryside, the outflow of young people from the village, the dying of villages - all these problems are widely covered in Shukshin's stories. He modifies the type of a small person, introduces new features into the concept of the Russian national character, as a result of which he becomes famous.

Where did the writer get the material for his works? Everywhere, where people live. What material is it, what characters? That material, and those heroes who rarely fell into the realm of art before. And it took a great talent to come from the depths of the people, to tell the simple, strict truth about his countrymen with love and respect. And this truth became a fact of art, aroused love and respect for the author himself. The hero of Shukshin turned out to be not only unfamiliar, but somewhat incomprehensible. Lovers of "distilled" prose demanded a "beautiful hero", demanded that the writer invent something so that, God forbid, he would not disturb his own soul. The polarity of opinions, the sharpness of assessments arose, oddly enough, precisely because the hero was not invented. And when the hero is real person, it cannot be only moral or only immoral. And when the hero is invented to please someone, here is complete immorality. Isn't it from here, from a misunderstanding of Shukshin's creative position, that creative errors in the perception of his heroes come from. Indeed, in his heroes, the immediacy of the action, the logical unpredictability of the act are striking: either he suddenly accomplishes a feat, then he suddenly runs away from the camp three months before the end of his term.

Shukshin himself admitted: “It is most interesting for me to explore the character of a non-dogmatic person, a person who is not planted in the science of behavior. Such a person is impulsive, gives in to impulses, and therefore, is extremely natural. But he always has a reasonable soul ". The writer's characters are really impulsive and extremely natural. And they do this by virtue of internal moral concepts, perhaps they themselves are not yet aware of. They have a heightened reaction to the humiliation of a person by a person. This reaction takes on a variety of forms. Leads sometimes to the most unexpected results.

The pain from his wife's betrayal, Seryoga Bezmenov, burned, and he cut off two of his fingers ("Fingerless").

The salesman insulted the bespectacled man in the store, and for the first time in his life he got drunk and ended up in a sobering-up station (“And in the morning they woke up ...”), etc. and so on.

No, Shukshin does not idealize his strange, unlucky heroes. Idealization generally contradicts the art of the writer. But in each of them he finds something that is close to himself. And now, it is no longer possible to make out who is calling for humanity - the writer Shukshin or Vanka Teplyashin.

Shukshin's hero, faced with a "narrow-minded gorilla," in desperation, he himself grabs a hammer to prove his case to the wrong, and Shukshin himself can say: "Here you must immediately beat a stool on the head - the only way to tell a boor that he did not do well" ( "Borya"). This is a purely "Shukshin" conflict, when truth, conscience, honor cannot prove that they are they. And it’s so easy for a boor, it’s so easy to reproach a conscientious person. And more and more often, the clashes of Shukshin's heroes become dramatic for them. Shukshin was considered by many to be a comic writer, "joking", but over the years, the one-sidedness of this statement, as well as another - about the "benevolent non-conflict" of Vasily Makarovich's works, was more and more clearly revealed. The plot situations of Shukshin's stories are sharply repetitive. In the course of their development, comedic situations can be dramatized, and something comical is found in dramatic ones. With an enlarged image of unusual, exceptional circumstances, the situation suggests their possible explosion, catastrophe, which, having broken out, break the usual course of the characters' lives. Most often, the actions of the heroes determine the strongest desire for happiness, for the establishment of justice ("In Autumn").

Did Shukshin write about the cruel and gloomy owners of the Lyubavins, the freedom-loving rebel Stepan Razin, old men and women, did he talk about the breaking of the hallway, about the inevitable departure of a person and his farewell to all earthly ones, did he make films about Pashka Kogolnikov, Ivan Rastorguev, the Gromov brothers, Yegor Prokudin , he depicted his heroes against the background of specific and generalized images - a river, a road, an endless expanse of arable land, a native home, unknown graves. Shukshin understands this central image comprehensive content, solving the cardinal problem: what is a person? What is the essence of his existence on Earth?

The study of the Russian national character, which has evolved over the centuries and the changes in it associated with the turbulent changes of the twentieth century, is the strong side of Shukshin's work.

Earth gravity and attraction to the earth is the strongest feeling of the farmer. Born together with man, a figurative representation of the greatness and power of the earth, the source of life, the keepers of time and generations gone with it in art. The earth is a poetically significant image in Shukshin's art: home, arable land, steppe, Motherland, mother - damp earth ... Folk - figurative associations and perceptions create an integral system of national, historical and philosophical concepts: about the infinity of life and the goal of generations fading into the past, about Motherland, about spiritual ties. The comprehensive image of the earth - the Motherland becomes the center of gravity of the entire content of Shukshin's work: the main collisions, artistic concepts, moral and aesthetic ideals and poetics. Enrichment and renewal, even the complication of the original concepts of the earth, the house in the work of Shukshin is quite natural. His worldview, life experience, heightened sense of the homeland, artistic penetration, born in new era life of the people, led to such a peculiar prose.

4 . The image of the Russian village in the works of V.M. Shukshina

In Shukshin's stories, a lot is based on the analysis of the collision of the city and the countryside, two different psychologies, ideas about life. The writer does not oppose the village to the city, he only opposes the absorption of the village by the city, against the loss of those roots, without which it is impossible to preserve the moral principle in oneself. A tradesman, a layman - this is a person without roots, who does not remember his moral kinship, deprived of "kindness of soul", "intelligent spirit". And in the Russian countryside, both daring, and a sense of truth, and the desire for justice are still preserved - what is erased, distorted in the people of the urban warehouse. In the story "My son-in-law stole a car of firewood" the hero is afraid of the prosecutor's office, a person who is indifferent to his fate; fear and humiliation at first suppress the self-esteem of Shukshin's hero, but the innate inner strength, the root sense of truth, force the hero of the story to overcome fear, animal fear for himself, to win a moral victory over his opponent.

The relationship between the city and the countryside has always been complex and contradictory. The man of the village often responds to the city's "boast" of civilization with rudeness, defending himself with harshness. But, according to Shukshin, real people are united not by the place of residence, not by the environment, but by the inviolability of the concepts of honor, courage, nobility. They are related in spirit, in the desire to maintain their own in any situation. human dignity- and at the same time remember the dignity of others. So, the hero of the story "The Freak" all the time strives to bring joy to people, does not understand their alienation and pities them. But Shukshin loves his hero not only for this, but also for the fact that the personal, individual, that which distinguishes one person from another, has not been erased in him. "Eccentrics" are necessary in life, because it is they who make it kinder. And how important it is to understand this, to see a personality in your interlocutor!

In the story "The Exam" the paths of two strangers accidentally crossed: the Professor and the Student. But despite the formal situation of the exam, they started talking - and saw people in each other.

Shukshin is a national writer. It's not just that his characters are simple, inconspicuous and the life they live is ordinary. Seeing, understanding the pain of another person, believing in yourself and in the truth is common. Seeing, understanding the pain of another person, believing in yourself and in the truth are the original folk qualities. A person has the right to attribute himself to the people only if he has a sense of spiritual tradition, the moral need to be kind. Otherwise, even if he is at least "originally" rural, his soul is still faceless, and if there are many such people, then the nation ceases to be a people and turns into a crowd. Such a threat hung over us in the era of stagnation. But Shukshin loved Russia with all his heart. He believed in the ineradicability of conscience, kindness, and a sense of justice in the Russian soul. Despite the time, overcoming its pressure, Shukshin's heroes remain people, remain true to themselves and the moral traditions of their people...

The first attempt by V. Shukshin to comprehend the fate of the Russian peasantry at historical breaks was the novel "Lubavins". It was about the beginning of the 20s of our century. But the main character, the main embodiment, the focus of the Russian national character for Shukshin was Stepan Razin. It is to him, his uprising, that Shukshin's second and last novel "I came to give you freedom" is dedicated. When Shukshin first became interested in the personality of Razin, it is difficult to say. But already in the collection "Rural Residents" a conversation about him begins. There was a moment when the writer realized that Stepan Razin was absolutely modern in some facets of his character, that he was the focus national characteristics Russian people. And this discovery, precious for himself, Shukshin wanted to convey to the reader. Today's man is acutely aware of how "the distance between modernity and history has narrowed." Writers, referring to the events of the past, study them from the perspective of people of the twentieth century, seek and find those moral and spiritual values that are needed in our time.

Several years pass after finishing work on the novel "Lyubavin", and Shukshin tries to explore the processes taking place in the Russian peasantry at a new artistic level. It was his dream to make a film about Stepan Razin. He kept coming back to her. If we take into account the nature of Shukshin's talent, inspired and fed by living life, consider that he himself was going to play the role of Stepan Razin, then one could expect a new deep penetration into Russian from the film. national character. One of best books Shukshin is called just that - "Characters" - and this name itself emphasizes the writer's predilection for what developed in certain historical conditions.

In stories written in last years, more and more often a passionate, sincere author's voice is heard, addressed directly to the reader. Shukshin spoke about the most important, painful, exposing his artistic position. He seemed to feel that his heroes could not express everything, but they definitely had to. More and more "sudden", "fictitious" stories from Vasily Makarovich Shukshin himself appear. Such an open movement towards "unheard of simplicity", a kind of nudity - in the traditions of Russian literature. Here, in fact, it is no longer art, going beyond its limits, when the soul screams about its pain. Now the stories are a solid author's word. The interview is a naked revelation. And questions, questions, questions everywhere. The most important about the meaning of life.

Art should teach goodness. Shukshin saw the most precious wealth in the ability of a pure human heart to do good. "If we are strong in anything and really smart, it's in a good deed," he said.

He lived with it, Vasily Makarovich Shukshin believed in it.

Conclusion

A person who believes in the power of good, the power of truth and asks, begs, demands moral purity from people. The desire for ethical spirituality is the basis of Shukshin's work. In the traditions of Russian literature, he considered the knowledge of the human soul to be the main task of the artist. In the traditions of Russian literature, he sought to see in this soul the "sprouts" of the good, the simple, the eternal. But at the same time, Shukshin managed to express the world in his works. modern man, the complex, "tangled" world of man in the era of stagnation. Shukshin reveals and explores in his heroes the qualities inherent in the Russian people: honesty, kindness, diligence, conscientiousness. But this is a world in which the best is forced to fight for its existence in human souls with a huge "pressure" of hypocrisy, philistinism, indifference, lies. Yes, Shukshin explores the world. He writes about Russia and about the people who live on Russian soil. His originality is in a special way of thinking, perception of the world, a special "point of view" on the Russian people. In Shukshin's stories, one can always feel the psychological depth, the inner intensity of the hero's state of mind. They are small in volume, reminiscent of ordinary, familiar everyday scenes, casually overheard ordinary conversations. But in these short stories, the most important issues of human relations are touched upon. Shukshin's stories make the reader notice in life what is most often not noticed, is considered a trifle. But in fact, our whole life consists of such trifles. And Shukshin shows how a person, his essence, is revealed in seemingly insignificant actions. The heroes of Shukshin's stories are different people. But in the center of it creative world one who seeks the truth in small and large, a person who thinks, experiences. Shukshin himself spoke of his creative credo as follows: "A smart and talented person will somehow find a way to reveal the truth, at least in a hint, at least in a half-word, otherwise it will torment him, otherwise, as it seems to him, life will be wasted." In Shukshin's stories, a lot is based on the analysis of the collision of the city and the countryside, two different psychologies, ideas about life. The writer does not oppose the village to the city, he only opposes the absorption of the village by the city, against the loss of those roots, without which it is impossible to preserve the moral principle in oneself. A tradesman, a layman, this is a person without roots, who does not remember his moral kinship, deprived of "kindness of soul", "intelligence of the spirit." And in the Russian countryside, both daring, and a sense of truth, and the desire for justice are still preserved, what is erased, distorted in people of an urban warehouse. The man of the village often responds to the city's "boast" of civilization with rudeness, defending himself with harshness. But, according to Shukshin, real people are united not by the place of residence, not by the environment, but by the inviolability of the concepts of honor, courage, nobility. They are related in spirit, in their desire to preserve their human dignity in any situation and at the same time remember the dignity of others. Shukshin People's Writer. It's not just that his characters are simple, inconspicuous and the life they live is ordinary. See, understand the pain of another person, believe in yourself and in the truth of the original folk qualities. A person has the right to attribute himself to the people only if he has a sense of spiritual tradition, the moral need to be kind. Otherwise, even if he is at least "originally" rural, his soul is still faceless, and if there are many such people, then the nation ceases to be a people and turns into a crowd. Such a threat hung over us in the era of stagnation. But Shukshin loved Russia with all his heart. He believed in the ineradicability of conscience, kindness, and a sense of justice in the Russian soul. Despite the time, overcoming its pressure, Shukshin's heroes remain people, remain true to themselves and the moral traditions of their people...

His stories are fast-paced, free from extraneous descriptions, usually lacking exposition, and the characters are rapidly brought into action. You will never find in Shukshin's stories even the most entertaining, but self-sufficient detail. The details of the narrative are sparse, but effective, plot-driven. His landscapes, corresponding state of mind characters, always extremely brief.

Among Russians contemporary writers, masters of the story, Shukshin is given a place of honor. His novelistic work is a bright and original phenomenon. With all the variety of genre forms, Shukshin has a favorite moral issues and the creative manner inherent only to this author, that creative handwriting by which you recognize each of his pages. The prose of Vasily Shukshin is an unusual phenomenon, with its own style features. The characters seen in life, the writer thinks out, develops, imagines. Shukshin peers into his character and explores him thoroughly as an artist, revealing his spiritual multi-layeredness, versatility. In his stories, life appears in its multidimensionality, inexhaustibility, in amazing diversity. The intonation of his works is mobile, rich in shades. Shukshin on several pages creates a unique human character and through him shows some layer of life, some side of being. village prose shukshin story

Shukshin is a deeply social writer. He explored new social phenomena, trodden his path in art and turning to the unknown layers of life. He was attracted to usual life ordinary people, where, under the cover of everyday life, he could see the special - those features that together created the Russian national character. The Russian national character, the Russian people in its historical movement - this is what invariably occupied Shukshin's creative thinking in the years of his maturity. He is primarily interested in the moral world of man. The literature of the 70s is characterized by a deep staging moral problems, tireless interest in the innermost depths of the human soul, the courage of artistic quest. In this vein, Shukshin's work develops, full of faith in the inexhaustible possibilities of the human person. In the great modern dispute about man, he is always on the side of optimism, but he is not benevolent either - he is merciless to everything evil, dark, that stains human soul. Direct and merciless criticism of some of the phenomena encountered in the moral sphere of our society is needed, necessary. Speaking against careerism and greed, against rudeness and ignorance, Shukshin not only castigates their carriers, but also warns. He wants to protect us from mistakes and actions, spiritually strengthen us as readers. Shukshin never controls his heroes. He is able to detect in the ordinary character the typifying principle that grows in him. His truth is never bookish, she suffered, she arose as a result of his life. Exploring new social phenomena as an artist, Shukshin trodden his own path in art and turned to unknown layers of life. This is the ordinary life of ordinary people. Social conflicts occupy Shukshin primarily from their moral side. The artist peers with deep interest into the individual psychology of the hero. One of its main themes is the theme of real and imaginary moral values, the theme of truth and falsehood in human relations. His work is characterized by the formulation of complex ethical problems. What is happiness and how is it achieved? What gives a person honest work? What is that position in life, that worldview, that code of morality that helps to achieve high satisfaction and true happiness

WITHlist of used literature

1. Arseniev K.K. Landscape in the modern Russian novel // Arseniev K.K. Critical Studies in Russian Literature. T.1-2. T.2. SPb.: typ. MM. Stasyulevich, 1888;

2. Gorn V.F. Vasily Shukshin. Barnaul, 1990;

3. Zarechnov V.A. The functions of the landscape in the early stories of V.M. Shukshina: Interuniversity collection of articles. Barnaul, 2006;

4. Kozlov S.M. Poetics of stories by V.M. Shukshin. Barnaul, 1992;

5. Ovchinnikova O.S. The nationality of Shukshin's prose. Biysk 1992;

Creativity V.M. Shukshin. encyclopedic Dictionary- reference book, vol. 1, 2.3 B.

6. V. Gorn Disturbed Soul

7. V. Gorn The fate of the Russian peasantry

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Methodical development

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type of development: training session

Depiction of Russian village life in stories

V.M Shukshina.

Developed by teacher: L.A. Loseva

Reviewed and approved at the meeting

cycle commission

and philological disciplines

protocol dated __

Chairman of the PCC _______ O.A. Khalezina

2015

Outline of the lesson

Subject: "The image of the life of the Russian village in the stories of Shukshin"

Discipline: literature

Lesson type: combined

The purpose of the lesson:

Educational:give an idea of \u200b\u200b"village prose"; to acquaint with the biography and work of V.M. Shukshin.

Educational:the formation of a civic-patriotic worldview of students through the study and analysis of works that tell about the life of the Russian village, about the small homeland.

Developing: develop the ability to analyze works of art small genre; reveal the universal content of the studied works; argue and formulate your attitude to what you have read.

Tasks:

To acquaint students with the historical features of the "thaw" period;

To acquaint with the concepts of "village" prose, "urban" prose, "village writers"

- analyze the stories of Vasily Shukshin: “Freak”, “Mother’s Heart”, “I Believe”, “Countrymen”, “At the Cemetery” and others.

Equipment: portraits of writers, fragments of the film "Kalina Krasnaya", projector, computer, screen, collections of stories.

Methodological techniques: use of ICT, lecture, analytical conversation.

During the classes:

Teacher's word:As an epigraph to the lesson, I would like to take the words of the Soviet writer Viktor Astafyev, who summed up the “village prose” by writing the following words:“We sang the last cry - about fifteen people there were mourners about the former village. We sang it at the same time. As they say, we cried well, at a decent level, worthy of our history, our village, our peasantry.”

Today we turn to the work of Vasily Makarovich Shukshin (1927-1974). He himself comes from peasant family, his homeland is the village of Srostki in Altai. Shukshin managed to see and experience a lot in his life: he served in the Navy, worked as a loader, locksmith, teacher and even a school principal. Then he graduated from the directing department of VGIK. He became known as an outstanding actor, director, screenwriter.

2. Presentation prepared by students about life and work

V.M Shukshina.

3. Viewing an episode from the feature film "Kalina Krasnaya", where the writer plays the main role of Yegor Prokudin.

4. Analytical conversation on this story.

Do you like or dislike the main character and why?

What is the attitude of the villagers towards the former prisoner (parents, Lyuba's brother, daughter-in-law, chairman of the collective farm)?

Why, despite the deceit, did Lyuba fall in love with E. Prokudin?

What does the final scene make you think about?

5. Stage reading and analysis of the story "Mother's Heart" or the story "Vanka Teplyashin". What unites these two stories with the story "Kalina Krasnaya".

6. The word of the teacher.

The heroes of Shukshin's story are village people who encounter the city or townspeople who find themselves in the village. All heroes have different tempers And different fate, but they are often united by kindness of heart, sincerity, philanthropy, even some spontaneity. Shukshin's first collection was called “Village Residents” (1963). In a word, they can be called “freaks”, because their actions are often difficult to understand for prudent and practical people. Freaks, like white crows, stand out among those around them with an extraordinary character with an ordinary (ordinary) appearance.

7. Analytical conversation. Analysis of the stories of V. Shukshin according to the plan:

What Shukshin stories have you read?

What "weirdos" do you remember?

What do they think, reflect, what do they strive for?

What are they dreaming about?

Why are "freaks" not like fellow villagers?

What did you like or dislike about the "weirdos"?

What made you think?

8. Analysis of the story "Crank" (1967). WITH stage elements.

The protagonist Vasily Egorych Knyazev, who was 39 years old, received the nickname "freak" from his wife, who sometimes called him so affectionately. But his actions often caused misunderstanding of others, and sometimes even angered, driven to rage.

Homemade, creative work.The hero's monologue about himself.

Presentation by the student who prepared this story.

Dramatization of an excerpt from the story "Sending a telegram"

9. Analysis of the story "Cut off".

The main character is a vain, ignorant, ambitious villager who is constantly trying to prove to himself and his fellow villagers that he is no worse, but smarter than any city. O native, who came to the village. The purpose of his life is to “surpass, cut off”, cheat, humiliate a person in order to rise above him.

Home preparation.Scene from the story "Cut off": a dispute with a scientist who came from the city.

Summary of the lesson: Shukshin's innovation is associated with an appeal to a special type - "freaks", causing rejection by others with their desire to live in accordance with their own ideas about goodness, beauty, justice. A person in Shukshin's stories is often not satisfied with his life, he feels the onset of universal standardization, boring philistine averageness and tries to express his own individuality, usually with somewhat strange actions. Such Shukshin heroes are called "freaks". Sometimes eccentricities are kind and harmless, for example, in the story "Freak", where Vasily Yegorych decorates a baby carriage, and sometimes eccentricities develop into a desire to rise above another person, for example, in the story "Cut off".

Shukshin is looking for sources of wisdom in the ability to feel the beauty of nature, life, in the ability to please people, in spiritual sensitivity, in love for the earth, for one's neighbor.

“Well, work is work, but the man is not made of stone. Yes, if you caress him, he will do three times more. Any animal loves affection, and man-them more ... You live and rejoice, but rejoice others.

From the letter of the old woman Kandaurova (story "Letter").

Homework.

In such situations, Shukshin's heroes can even commit suicide ("Suraz", "Husband's wife saw off to Paris"). No, they can not stand insults, humiliation, resentment. They offended Sasha Ermolaev (“Resentment”), the “inflexible” aunt-seller was rude. So what? Happens. But the hero of Shukshin will not endure, but will prove, explain, break through the wall of indifference.
However, Shukshin does not idealize his strange, unlucky heroes. Idealization generally contradicts the art of the writer. But in each of them he finds something that is close to himself.
The relationship between the city and the countryside in Shukshin's stories has always been complex and contradictory. The man of the village often responds to the urban "bragging" of civilization with rudeness, defending himself with harshness. But, according to Shukshin, real people are united not by the place of residence, not by the environment, but by the inviolability of the concepts of honor, courage, nobility ...

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