Village prose of the 60s and 70s of the 20th century. "Village" writers: Fyodor Aleksandrovich Abramov, Vasily Ivanovich Belov, Ivan Ivanovich Akulov

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Stavropol

GBOU SPO "Stavropol College of Communications named after Hero Soviet Union V.A. Petrova"

In the discipline "Russian Language and Literature"

On the topic: " Village prose»

Completed:

student of group S-133

Ushakov Oleg Sergeevich

Checked:

teacher of Russian language and literature

Dolotova Tatyana Nikolaevna

prose village Shukshin

Introduction

1. Village prose of the 50-80s of the XX century

2. Image of a Soviet village by Vasily Shukshin

Conclusion

Bibliography

Introduction

In Russian literature, the genre of village prose is noticeably different from all other genres. What is the reason for this difference? You can talk about this for an extremely long time, but still not come to a final conclusion. This happens because the scope of this genre may not fit within the description of rural life. This genre may also include works that describe the relationship between people in 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 significantly more of them in our country. This situation is explained not only by the peculiarities of the formation of states and regions, their national and economic specifics, but also by the character, “portrait” of each people inhabiting a given area. In countries Western Europe, the peasantry played an insignificant role, and all national life was in full swing in the cities. In Russia, since ancient times, Russian villages have occupied the most important role in history. Not in terms of power (on the contrary - the peasants were the most powerless), but in spirit - the peasantry was and, probably, remains the driving force 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, or rather because of serfdom, that that cruel struggle took place, the victims of which were tsars, poets, and part of the outstanding Russian intelligentsia of the 19th century. Thanks to this, works covering this topic occupy a special place in the literature.

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Stavropol

Modern rural prose plays a large role in the literary process these days. This genre today rightfully occupies one of the leading places in terms of readability and popularity. Modern reader I care about the problems that arise in novels of this genre. These are issues of morality, love of nature, good, kind attitude towards people and other problems that are so relevant today. Among modern writers who have written or are writing in the genre of village prose, the leading place is occupied by such writers as Viktor Petrovich Astafiev ("The Fish Tsar", "The Shepherd and the Shepherdess"), Valentin Grigorievich Rasputin ("Live and Remember", "Farewell to Matera "), Vasily Makarovich Shukshin ("Villages", "Lyubavins", "I came to give you freedom") and others.

Vasily Makarovich Shukshin occupies a special place in this series. His unique creativity has attracted and will continue to attract hundreds of thousands of readers not only in our country, but also abroad. After all, it is rare to meet such a master of the folk word, such a sincere admirer of his native land as this outstanding writer was.

The goal of our work is to determine the world of the Russian village in those days.

1. Village prose of the 50-80s of the XX century

1.1 Description of Russian national character in the works of writers

From time immemorial, people from the Russian hinterland have glorified the Russian land, mastering the heights of world science and culture. Let us at least remember Mikhailo Vasilyevich Lomonosov. So are our contemporaries Viktor Astafiev and 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 faithful to their rural birthright, their “small homeland.”

I have always been interested in reading their works, especially the stories and stories of Vasily Makarovich Shukshin. In his stories about fellow countrymen one can see the writer’s great love for the Russian village, concern for today’s man and his future fate.

Sometimes they say that the ideals of Russian classics are too far from modernity and are inaccessible to us. These ideals cannot be inaccessible to a schoolchild, but they are difficult for him. Classics - and this is what we try to convey to our students - is not entertainment. Artistic exploration of life in Russian classical literature never turned into an aesthetic pursuit, it always pursued a living spiritual and practical goal. V.F. Odoevsky formulated, for example, the purpose of his writing: “I would like to express in letters the psychological law according to which not a single word uttered by a person, not a single action 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 a person’s soul.”

When studying works of Russian classics, I try to penetrate into the “secrets” of the student’s soul. I will give several 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 movements that have outwardly broken with religion still find themselves internally connected with it.

F.I. Tyutchev in the poem "Silentium" ("Silence!" - Lat.) talks about special strings human soul who are silent in everyday life, but clearly declare themselves in moments of liberation from everything external, worldly, and 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, more keenly than many Russian writers, felt the short duration and fragility of human life on earth, the inexorability and irreversibility of the rapid flight of historical time. Sensitive to everything topical and momentary, able to capture life in its beautiful moments, I.S. Turgenev simultaneously possessed a generic feature of any Russian classic writer - a rare sense of freedom from everything temporary, finite, personal and egoistic, from everything subjectively biased, clouding the acuity of vision, breadth of vision, completeness of artistic perception. In the troubled years for Russia, I.S. Turgenev creates a prose poem "Russian Language". The bitter consciousness of the deepest national crisis that Russia was then experiencing 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, who clearly understands the boundaries of good and evil, who exists according to the laws of conscience and honor, unites many Russian writers. The twentieth century (especially the second half) felt the loss even more acutely than the nineteenth moral ideal: the connection of times fell apart, the string broke, which A.P. so sensitively caught. Chekhov (play " 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 people's world in the works of V.M. Shukshina. 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, contained hope and testified that the world had not yet perished.

Speaking about the depiction of the folk world by 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 "Izba". The writer turns readers to the Christian norms of simple and ascetic life and at the same time, to the norms of brave, courageous deeds, creation, asceticism. We can say that the story returns readers to the spiritual space of the ancient, maternal culture. The tradition of hagiographic literature is noticeable in the story. Severe, ascetic Agafya’s life, her ascetic work, her love for her native land, for every mound and every blade of grass, which erected “mansions” in a new place - these are the moments of content that connect the story about the life of a Siberian peasant woman with life. There is a miracle in the story: despite the “superpower.” “, Agafya, having built a hut, lives in it “twenty years without one year,” that is, she will be awarded longevity. And the hut built with her hands, after Agafya’s death, will stand on the shore, will for many years preserve the foundations of centuries-old peasant life, not let them perish even in our days.

The plot of the story, the character of the main character, the circumstances of her life, the story of the forced move - everything refutes the popular ideas about the laziness and commitment to drunkenness of the Russian person. The main feature of Agafya’s fate should also be noted: “Here (in Krivolutskaya) Agafya’s Vologzhin family settled from the very beginning and lived for two and a half centuries, taking root in half the village.” This is how the story explains the strength of character, perseverance, and asceticism of Agafya, who is building her “house” in a new place, a hut, after which the story is named. In the story of how Agafya set up her hut in a new place, the story of V.G. Rasputin comes close to the life of Sergius of Radonezh. It is especially close in the glorification of carpentry, which was mastered by Agafya’s voluntary assistant, Savely Vedernikov, who earned an apt description from his fellow villagers: he has “golden hands.” Everything that Savely’s “golden hands” do shines with beauty, pleases the eye, and glows. “The raw plank, and how board to board lay on two shiny slopes, playing with whiteness and newness, how it shone already in the twilight, when, having knocked on last time Savely went down the roof with an ax, as if light was streaming over the hut and it stood up to its full height, immediately moving into the residential order.”

Not only life, but also fairy tales, legends, and parables resonate in the style of the story. As in the fairy tale, after Agafya’s death the hut continues common life. The blood connection between the hut and Agafya, who “endured” it, is not broken, 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 by V.G. Rasputin, written at the end of the 20th century, the hut is made of logs darkened by time. There is only a glow under the night sky from the brand new plank roof. Izba - a word-symbol - was fixed at the end of the 20th century in the meaning of Russia, homeland. The parable layer of V.G.’s story is connected with the symbolism of village reality, with the symbolism of the word. Rasputin.

So, the focus of Russian literature traditionally remains moral problems, our task is to convey to students the life-affirming foundations of the works being studied. The portrayal of the Russian national character distinguishes Russian literature; the search for a hero who is morally harmonious, clearly aware of the boundaries of good and evil, and who exists according to the laws of conscience and honor, unites many Russian writers.

2. Image of a Soviet village by Vasily Shukshin

2.1 Vasily Shukshin: life and work

Vasily Makarovich Shukshin was born in 1929, in the village of Srostki, Altai Territory. And through the entire 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, human labor on this land, and learned to understand the harsh prose of rural life. From the very beginning of his creative career, he discovered new ways in depicting a person. His heroes turned out to be unusual in 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 debut in cinema ("Two Fedoras"), as well as in literature ("A Story in a Cart"). In 1963, Shukshin released his first collection, “Rural Residents.” And in 1964, his film “There Lives a Guy Like This” was awarded the main prize at the Venice Film Festival. World fame comes to Shukshin. But he doesn't stop there. Years of intense and painstaking work follow. For example: in 1965 his novel “The Lyubavins” was published and at the same time the film “There Lives Such a Guy” appeared on the country’s screens. Just from this example alone one can 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? This is certainly not the case. 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, penetrate 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 with this truth to bring people together. He was obsessed with one thought that he wanted to think out loud. And be understood! All the efforts of Shukshin, the creator, were aimed at this. He believed: “Art - so to speak, to be understood...” From his first steps in art, Shukshin explained, argued, proved and suffered when he was not understood. They tell him that the film “There Lives a Guy Like This” 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 hesitates, and then sits down to write an article (“Monologue on the Stairs”).

2.2 The originality of Shukshin’s heroes

One of the creators of village prose was Shukshin. The writer published his first work, the story “Two on a Cart,” in 1958. Then for fifteen years literary activity he published 125 stories. In the collection of stories “Rural Residents,” the writer included the cycle “They are from Katun,” in which he lovingly talked about his fellow countrymen and his native land.

The writer’s works differed from what Belov, Rasputin, Astafiev, Nosov wrote within the framework of village 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 " 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 village prose. While the characters are typical, Shukshin's heroes are distinguished by an independent view of things, which was alien to Akaki Akakievich Gogol or to the stationmaster Pushkin. The men immediately sense insincerity; they are not ready to submit to fictitious city values. Original little people - that's what Shukshin got.

The weirdo is strange to city residents; his own daughter-in-law’s attitude towards him borders on hatred. At the same time, the unusualness and spontaneity 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 heroes. Their actions are not always consistent with our usual patterns of behavior, and their value systems are surprising. He falls out of the blue, loves dogs, is surprised by human malice, and as a child wanted to become a spy.

The story "Rural Residents" is about the people of a Siberian village. The plot is simple: the family receives a letter from their son with an invitation to come and visit him in the capital. Grandma Malanya, grandson Shurka and neighbor Lizunov imagine such a trip as a truly epoch-making event. Innocence, naivety and spontaneity are visible in the characters' characters; they are revealed through dialogue about how to travel and what to take with you on the road. In this story we can observe Shukshin's skill in composition. If in "The Freak" we were talking about an atypical beginning, 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’s easy to notice how carefully the writer treats the construction literary characters. The 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, living every new day is equally difficult.

The material for the film “There Lives Such a Guy” was Shukshin’s story “Grinka Malyugin.” In it, a young driver accomplishes a feat: he takes a burning truck into the river so that barrels of gasoline do not explode. When a journalist comes to the wounded hero in the hospital, Grinka is embarrassed to talk about heroism, duty, and saving people. The character's striking modesty borders on holiness.

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

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 city and 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 little man, introduces new features into the concept of Russian national character, as a result of which he gains fame.

Where did the writer get the material for his works? Everywhere, where people live. What material is this, what characters? That material and those characters that have rarely entered the sphere of art before. And it took a great talent coming from the depths of the people to tell the simple, strict truth about his fellow countrymen with love and respect. And this truth became a fact of art and aroused love and respect for the author himself. Shukshin's hero turned out to be not only unfamiliar, but also partly incomprehensible. Lovers of "distilled" prose demanded " handsome hero", they demanded that the writer invent, so that, God forbid, he would not disturb his own soul. The polarity of opinions, the harshness of assessments arose, oddly enough, precisely because the hero was not invented. And when the hero is a real person, he cannot only be moral or only immoral. And when a hero is invented to please someone, here is complete immorality. Isn’t it from here, from a lack of understanding of Shukshin’s creative position, that creative errors in the perception of his heroes come from? After all, what is striking about his heroes is the spontaneity of action, the logical unpredictability of action: it’s unexpected. accomplishes a feat, he suddenly escapes from the camp three months before the end of his term.

Shukshin himself admitted: “I am most interested in exploring the character of a non-dogmatic person, a person not grounded 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 truly impulsive and extremely natural. And they do this by virtue of internal moral concepts, perhaps not yet realized by themselves. They have a heightened reaction to the humiliation of man by man. This reaction takes on the most various shapes. Sometimes it leads to the most unexpected results.

Seryoga Bezmenov was burned by the pain of his wife’s betrayal, and he cut off two of his fingers (“Fingerless”).

A bespectacled man in a store was insulted by a boorish salesman, 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. etc.

In such situations, Shukshin’s characters may even commit suicide (“Suraz”, “The wife saw off her husband to Paris”). No, they cannot stand insults, humiliation, resentment. They offended Sashka Ermolaev ("Resentment"), the "inflexible" aunt-seller was rude. So what? Happens. But Shukshin’s hero will not endure, but will prove, explain, break through the wall of indifference. And... he grabs the hammer. Or he will leave the hospital, as Vanka Teplyashin did, as Shukshin did ("Klyauza"). A very natural reaction of a conscientious and kind person...

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

Shukshinsky’s hero, faced with a “narrow-minded gorilla,” can, in despair, grab a hammer himself in order to prove to the wrongdoer that he is right, and Shukshin himself can say: “Here you need to immediately hit him on the head with a stool - the only way to tell the boor that he did something wrong” ( "Borya"). This is a purely “Shuksha” collision, when truth, conscience, honor cannot prove that they are who they are. And it’s so easy, so simple for a boor 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, “joke” writer, but over the years the one-sidedness of this statement, as well as another - about the “compassionate lack of conflict” of Vasily Makarovich’s works, became more and more clearly revealed. The plot situations of Shukshin's stories are poignant. In the course of their development, comedic situations can be dramatized, and something comic is revealed in dramatic situations. With an enlarged depiction of unusual, exceptional circumstances, the situation suggests their possible explosion, a catastrophe, which, having broken out, breaks the usual course of life of the heroes. Most often, the actions of the heroes are determined by a strong 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 old women, did he talk about the breaking of the entryway, about the inevitable departure of a person and his farewell to all earthly people, did he stage films about Pashka Kogolnikov, Ivan Rastorguev, the Gromov brothers, Yegor Prokudin , he depicted his heroes against the backdrop of specific and generalized images - a river, a road, an endless expanse of arable land, a home, unknown graves. Shukshin understands this central image with a comprehensive content, solving a cardinal problem: what is a person? What is the essence of his existence on Earth?

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

Gravity and attraction to the earth are the strongest feeling of the farmer. Born with man, it is a figurative representation of the greatness and power of the earth, the source of life, the guardians of time and the generations gone with it in art. The earth is a poetically meaningful image in Shukshin’s art: the native house, the arable land, the steppe, the Motherland, the mother - the damp earth... Folk-figurative associations and perceptions create an integral system of national, historical and philosophical concepts: about the infinity of life and the goals of generations receding 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. The enrichment and renewal, even the complication of the original concepts of land and home in Shukshin’s work is quite natural. His worldview life experience, a heightened sense of homeland, artistic insight, born in a new era in the life of the people, determined such a unique prose.

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

In Shukshin's stories, a lot is built on the analysis of the collision of city and village, two different psychology, 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 within oneself. The bourgeoisie, the philistine - this is a person without roots, who does not remember his moral kinship, deprived of “kindness of soul”, “intelligence of spirit”. And in the Russian village, prowess, a sense of truth, and a desire for justice are still preserved - what has been erased is distorted in people of an urban type. In the story “My Son-in-Law Stole a Car of Firewood,” the hero is afraid of the prosecutor’s office, a man indifferent to his fate; fear and humiliation initially suppress the self-esteem of the hero Shukshin, 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 city and countryside has always been complex and contradictory. To the city's "boast" of civilization, the village man often responds with rudeness and defends himself with harshness. But, according to Shukshin, real people are united not by place of residence, not by environment, but by the inviolability of the concepts of honor, courage, and 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. Thus, the hero of the story “The Freak” always strives to bring joy to people, does not understand their alienation and feels sorry for them. But Shukshin loves his hero not only for this, but also because the personal, individual, that which distinguishes one person from another, has not been erased in him. “Weird people” are necessary in life, because they are the ones who make it kinder. And how important it is to understand this, to see a person in your interlocutor!

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

Shukshin is a people's writer. It's not just that his heroes are simple, unnoticeable and the lives they live are 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 oneself and in the truth are primordial folk qualities. A person has the right to classify himself as a people only if he has a sense of spiritual tradition and the moral need to be kind. Otherwise, even if he is “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 soul. He believed in the ineradicability of conscience, kindness, and a sense of justice in the Russian soul. Despite time, overcoming its pressure, Shukshin's heroes remain people, remain true to themselves and the moral traditions of their people...

V. Shukshin’s first attempt to understand the fate of the Russian peasantry at historical junctures was the novel “The Lyubavins.” It was about the early 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. It is difficult to say when Shukshin first became interested in Razin’s personality. But already in the collection “Rural Residents” a conversation about him begins. There was a moment when the writer realized that Stepan Razin, in some facets of his character, was absolutely modern, that he was the concentration of the national characteristics of the Russian people. And this, a precious discovery for himself, Shukshin wanted to convey to the reader. Today's people acutely feel how “the distance between modernity and history has shortened.” Writers, turning 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 necessary in our time.

Several years pass after finishing work on the novel “Lyubavina,” and Shukshin tries to explore the processes taking place in the Russian peasantry at a new artistic level. It was his dream to direct a film about Stepan Razin. He returned to her constantly. If we take into account the nature of Shukshin’s talent, inspired and nourished by living life, and take into account that he himself was going to play the role of Stepan Razin, then one could expect a new deep insight into the Russian national character from the film. One of best books Shukshin is called “Characters” - and this name itself emphasizes the writer’s passion for what developed in certain historical conditions.

In stories written in recent 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 issues, revealing his artistic position. It was as if he felt that his heroes could not say everything, but they definitely had to say it. More and more “sudden”, “fictional” stories from Vasily Makarovich Shukshin himself appear. Such an open movement towards “unheard-of simplicity”, a kind of nakedness, is in the traditions of Russian literature. Here, in fact, it is no longer art, it is going beyond its limits, when the soul screams about its pain. Now the stories are entirely the author's word. The interview is a naked revelation. And everywhere questions, questions, questions. The most important things 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 and truly smart in anything, it is in doing a good deed,” he said.

Vasily Makarovich Shukshin lived with this, believed in it.

Conclusion

Looking at the array of village prose from today, it can be argued that it gave a comprehensive picture of the life of the Russian peasantry in the twentieth century, reflecting all the main events that had a direct impact on its fate: the October Revolution and civil war, war communism and NEP, collectivization and famine, collective farm construction and forced industrialization, war and post-war deprivation, all kinds of experiments on agriculture and its current degradation... She introduced the reader to different, sometimes very dissimilar Russian lands in their way of life: the Russian North ( for example, Abramov, Belov, Yashin), the central regions of the country (Mozhaev, Alekseev), the southern regions and Cossack regions (Nosov, Likhonosov), Siberia (Rasputin, Shukshin, Akulov)... Finally, she created a number of types in literature that give understanding that there is a Russian character and that very “mysterious Russian soul”. These are the famous Shukshin “eccentrics”, and the wise Rasputin old women, and his dangerous “Arkharovites”, and the long-suffering Belovsky Ivan Afrikanovich, and the fighting Mozhaevsky Kuzkin, nicknamed Zhivoy...

The bitter conclusion of the village prose was summed up by V. Astafiev (we repeat, he also made a significant contribution to it): “We sang the last lament - about fifteen people were mourners for the former village. We sang her praises at the same time. As they say, we cried well, at a decent level, worthy of our history, our village, our peasantry. But it's over. Now there are only pathetic imitations of books that were created twenty to thirty years ago. Those naive people who write about an already extinct village imitate. Literature must now break through the asphalt.”

Bibliography

1. Arsenyev K.K. Landscape in the modern Russian novel // Arsenyev K.K. Critical studies on Russian literature. T.1-2. T.2. St. Petersburg: typography. MM. Stasyulevich, 1888;

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

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

4. Kozlov S.M. “The poetics of stories by V.M. Shukshina" Barnaul, 1992;

5. Ovchinnikova O.S. “The Nationality of Shukshin’s Prose” Biysk 1992;

6. Creativity V.M. Shukshina. Encyclopedic Dictionary - Reference Book, vol. 1, 2,3 B.

7. V. Gorn “The Troubled Soul”

8. V. Gorn “The Fate of the Russian Peasantry”

9. http://allbest.ru/

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Review of some facts of the biography of Vasily Shukshin - a famous Russian Soviet writer, film director and screenwriter. Creative path V. Shukshina, his assessment creative heritage. Vasily Shukshin is a “secret psychologist” in the film story “Kalina Krasnaya”.

abstract, added 08/28/2011


The artistic space of fairy tales by Vasily Makarovich Shukshin (1929-1974). Fairy tales and fairy-tale elements in the prose of the Russian writer: their role and significance. Artistic Features and the folk origins of the fairy tale "Point of View" and the fairy tale "Until the Third Roosters".

thesis, added 10/28/2013


Familiarization with the native dialect of V. Shukshin and K. Paustovsky. Features of the dialect in Central Rus' and the Altai region. Identification of dialectisms in the works of writers who use directly opposite territorial dialects in their work.

course work, added 10/23/2010


The problem of Russian national character in Russian philosophy and XIX literature century. Creativity N.S. Leskov, displaying the problem of the Russian national character in the story “The Enchanted Wanderer”, in “The Tale of the Tula Oblique Lefty and the Steel Flea”.

course work, added 09/09/2013


Brief biography Vasily Makarovich Shukshin (1929-1974), review of his work. The theme of the country man is one of the main ones in Shukshin’s stories. Analysis of the stories “Freaks”, “Microscope” and “Cut”, as well as the features of how they reflect the problems of their time.

abstract, added 11/12/2010


Brief biography of V.M. Shukshina. Definition of "weirdo". Characteristics of the main characters from the stories "Weird", "Microscope", "Give Your Heart", their common features (simplicity, gullibility, kindness, dreaminess) and differences (goals and life values).

presentation, added 12/22/2012


The story of the life and work of the Russian writer and director Vasily Makarovich Shukshin. Review of creativity: main themes and works. The place of the story "Kalina Krasnaya" in the writer's work. Analysis of the work: the theme of the country man, heroes and characters.

The concept of “village” prose appeared in the early 60s. This is one of the most fruitful directions in our domestic literature. It is represented by many original works: “Vladimir Country Roads” and “A Drop of Dew” by Vladimir Soloukhin, “A Habitual Business” and “Carpenter’s Stories” by Vasily Belov, “Matrenin’s Dvor” by Alexander Solzhenitsyn, “ Last bow» by Victor Astafiev, stories by Vasily Shukshin, Evgeny Nosov, stories by Valentin Rasputin and Vladimir Tendryakov, novels by Fyodor Abramov and Boris Mozhaev. The sons of peasants came to literature, each of them could say about themselves the very words that the poet Alexander Yashin wrote in the story “I Treat You to Rowan”: “I am the son of a peasant. Everything that happens on this land, on which I have walked more than one path, concerns me. knocked out with bare heels; in the fields that he still plowed with a plow, in the stubble that he walked with a scythe and where he threw hay into stacks.” “I am proud that I came from the village,” said F. Abramov. He was echoed by V.

Rasputin: “I grew up in the village. She fed me, and it’s my duty to tell about her.” Answering the question why he writes mainly about village people, V. Shukshin said: “I couldn’t talk about anything, knowing the village. I was brave here, I was here as independent as possible.” WITH.

Zalygin wrote in “An Interview with Myself”: “I feel the roots of my nation there - in the village, in the arable land, in the most daily bread. Apparently, our generation is the last that saw with its own eyes the thousand-year-old way of life from which almost everyone came out of. If we don’t talk about him and his decisive alteration within a short period of time, who will say?” Not only the memory of the heart nourished the theme of “small homeland”, “sweet homeland”, but also pain for its present, anxiety for its future. Exploring the reasons for the acute and problematic conversation about the village that literature had in the 60-70s, F. Abramov wrote: “The village is the depths of Russia, the soil on which our culture grew and flourished.

At the same time, the scientific and technological revolution in which we live has affected the village very thoroughly. Technology has changed not only the type of farming, but also the very type of peasant. Along with the ancient way of life, the moral type is disappearing into oblivion. Traditional Russia is turning over the last pages of its thousand-year history. Interest in all these phenomena in literature is natural. Traditional crafts are disappearing, local features are disappearing peasant dwelling, which have evolved over centuries. Language bears serious losses.

The village has always spoken a richer language than the city, now this freshness is being leached, eroded.” Shukshin, Rasputin, Belov, Astafiev, Abramov saw the village as the embodiment of the traditions of folk life - moral, everyday, aesthetic. In their books there is a noticeable need to look at everything connected with these traditions and what broke them. “Business as usual” is the title of one of V.’s stories.

Belova. These words can be defined internal theme many works about the village: life as work, life in work is a common thing. Writers depict the traditional rhythms of peasant work, family worries and anxieties, everyday life and holidays. There are many lyrical landscapes in the books. So, in the novel B.

Mozhaev’s “Men and Women” draws attention to the description of the “unique in the world, fabulous flood meadows of the Oka region,” with their “free variety of herbs”: “Andrei Ivanovich loved meadows. Where else in the world is there such a gift from God? So as not to plow and not to sow, and the time will come - to go out with the whole world, as if on a holiday, in these soft manes and in front of each other, playing with a scythe, alone in a week to spread the fragrant hay for the whole winter to the cattle Twenty-five! Thirty carts!

If the grace of God was sent down to the Russian peasant, then here it is, here, spread out in front of him, in all directions - you can’t even see it with your eyes.” In the main character of B. Mozhaev’s novel, the most intimate thing is revealed, what the writer associated with the concept of “call of the earth.”

Through the poetry of peasant labor, he shows the natural course of a healthy life, comprehends harmony inner world a person living in harmony with nature, enjoying its beauty. Here is another similar sketch - from F. Abramov’s novel “Two Winters and Three Summers”: “Mentally talking with the children, guessing from their tracks how they walked, where they stopped, Anna did not even notice how she went out to Sinelga. And here it is, her holiday, her day, here it is, the hard-earned joy: the Pryaslina brigade at the reaping! Mikhail, Lisa, Peter, Grigory She got used to Mikhail - from the age of fourteen she mows for a man and now there are no mowers equal to him in all of Pekashin. And Lizka also does the swathing - you’ll be jealous.

Not into her, not into her mother, into Grandma Matryona, they say, with a catch. But small, small! Both with scythes, both hitting the grass with their scythes, both with grass falling under their scythes. Lord, did she ever think that she would see such a miracle!” Writers have a keen sense of the deep culture of the people. Comprehending his spiritual experience, V.

Belov emphasizes in the book Lad: “Working beautifully is not only easier, but also more enjoyable. Talent and work are inseparable." And again: “For the soul, for the memory, it was necessary to build a house with carvings, or a temple on the mountain, or to weave such lace that would take the breath away and light up the eyes of a distant great-great-granddaughter. Because man does not live by bread alone.”

This truth is professed best heroes Belov and Rasputin, Shukshin and Astafiev, Mozhaev and Abramov. In their works, one should also note the pictures of the brutal devastation of the village, first during collectivization (“Eves” by V. Belov, “Men and Women” by B. Mozhaev), then during the war years (“Brothers and Sisters” by F.

Abramov), during the post-war hard times (“Two Winters and Three Summers” by F. Abramov, “Matrenin’s Yard” by A. Solzhenitsyn, “Business as Usual” by V.

Belova). The writers showed the imperfection and disorder of the heroes' everyday life, the injustice perpetrated against them, their complete defenselessness, which could not but lead to the extinction of the Russian village. “There is neither subtracting nor adding here. This is how it was on earth,” A. will say about this.

Tvardovsky. The “information for thought” contained in the “Appendix” to Nezavisimaya Gazeta (1998, 7) is eloquent: “In Timonikha, the native village of the writer Vasily Belov, the last man, Faust Stepanovich Tsvetkov, died. Not a single man, not a single horse. Three old women." And a little earlier " New world"(1996, 6) published Boris Ekimov’s bitter, difficult reflection “At the Crossroads” with terrible forecasts: “The poor collective farms are eating up tomorrow and the day after tomorrow, dooming to even greater poverty those who will live on this land after them. The degradation of the peasant is worse than degradation soil.

And she is there." Such phenomena made it possible to talk about “Russia, which we lost.” So the “village” prose, which began with the poeticization of childhood and nature, ended with the consciousness of a great loss. It is no coincidence that the motif of “farewell”, “last bow”, reflected in the titles of the works (“Farewell to Matera”, “Last term” by V.

Rasputin, “The Last Bow” by V. Astafiev, “The Last Sorrow”, “The Last Old Man of the Village” by F.

Abramov), and in the main plot situations of the works, and in the premonitions of the heroes. F.

Abramov often said that Russia was saying goodbye to the village as to its mother. In order to highlight the moral issues of works of “village” prose, we will pose the following questions to eleventh-graders: - What pages of novels and stories by F. Abramov, V. Rasputin, V.

Astafiev, B. Mozhaev, V. Belov written with love, sadness and anger? - Why did the man of the “hardworking soul” become the primary hero of “village” prose?

Tell us about it. What worries him? What questions do the heroes of Abramov, Rasputin, Astafiev, Mozhaev ask themselves and us, the readers?

Village prose is a concept introduced in the 60s. to designate prose works of Russian literature dedicated to village life and primarily addressing the depiction of those humane and ethical values ​​that are associated with the centuries-old traditions of the Russian village.

After during Stalin’s time the life of the Russian village was shown very rarely at first, and later in a distorted form, with the forced unification of peasants into collective farms especially idealized (M. Sholokhov) and the truth about the post-war recovery period (S. Babaevsky) distorted - in In 1952, starting with the works of V. Ovechkin, documentary prose appeared, telling about the harm to state agriculture caused by centralized instructions from above, emanating from incompetent people. Under Khrushchev, who, being at the head of the party and state, tried to improve the situation in agriculture, this accusatory literature, oriented towards the economy, began to develop rapidly (E. Dorosh). The more artistic elements were introduced into it (for example, V. Tendryakov, A. Yashin, S. Antonov), the more clearly it revealed the harm caused to people by state mismanagement.

After A. Solzhenitsyn, in his story “Matrenin’s Dvor” (1963), spoke about those incorruptible human and, first of all, religious-Christian values ​​that are preserved in the modern Central Russian village with all its squalor, Russian village prose reached a great rise and over the course of of the next decades gave rise to numerous works that can rightfully be considered the best in Russian literature of this period. F. Abramov in a series of novels depicts in detail village life in Arkhangelsk region; V. Belov notes the positive features of the peasant community before the introduction of collectivization in the Vologda region, rich in traditions; S. Zalygin denounces the destruction of village traditions in Siberia; V. Shukshin brings out eccentric peasants in his stories, showing them in contrast with weak-willed city dwellers; V. Astafiev warns against the danger of modern civilization for the environment.

Then V. Afonin (Siberia), S. Bagrov, S. Voronin, M. Vorfolomeev, I. Drutse (Moldova), F. Iskander (Abkhazia), V. Krupin, S. Krutilin, V. began to write in the genre of village prose. Lipatov, V. Likhonosov, V. Lichutin, B. Mozhaev, E. Nosov, V. Semin, G. Troepolsky, V. Rasputin, who in his novels about the life of a Siberian village convincingly defends religious and universal norms and traditions, has achieved the highest national and international recognition.

Authors such as V. Soloukhin, who in their works, along with village traditions, also tried to protect cultural values ​​- churches, monasteries, icons, family estates - were sometimes subjected to harsh criticism. In general, however, village prose, incompatible with the principles proclaimed in 1917, and united around the magazine “Our Contemporary”, enjoys the favorable tolerance of official organizations, since the entire Russian political-patriotic movement feels significant support from them. The polarization of groups existing within the Soviet intelligentsia during the era of perestroika with its very free journalism led in the late 80s. to serious attacks on the authors of village prose. Because of their Russian-national and Christian-Orthodox thinking, they were justifiably and unjustifiably accused of nationalism, chauvinism and anti-Semitism, and sometimes they were seen as adherents of extremist circles close to the Memory society. The change in the atmosphere around village prose led to the fact that in the new political conditions the center of gravity in literature moved to other phenomena and problems, and it itself lost its significance in the literary process.

Village prose— significant, spiritually and aesthetically effective thematic direction in literature 1960 - beginning. 1980s, comprehending the dramatic. fate of the cross, rus. villages in the 20th century, marked by keen attention to issues of tradition, people. morality, to the relationship between man and nature. Having made its mark in “The Vologda Wedding” (1962) by A. Yashin, especially strongly in A. Solzhenitsyn’s story “Matrenin Dvor” (“A village does not stand without a righteous man”) (1963), this prose is represented by the works of V. Belov, V. Shukshin , F. Abramova, V. Lipatova, V. Astafiev, E. Nosova, B. Mozhaev, V. Rasputin, V. Lichutin and other authors. Created in an era when the country became preeminent. city ​​and the cross that has been taking shape for centuries is disappearing into oblivion. way of life, D.P. is permeated with motives of farewell, “last term”, “last bow”, destruction of a rural house, as well as longing for lost morals. values, ordered patriarch. everyday life, unity with nature. For the most part, the authors of books about the village come from it, first-generation intellectuals: in their prose, the life of rural residents makes sense of itself. Hence - lyrical. the energy of the narrative, “bias” and even a certain idealization of the story about the fate of the Russian. villages.

H Much earlier than the poetry of the “sixties”, the most powerful literary movement in problematic and aesthetic terms, called village prose, emerged in Russian literature. This definition is associated with more than one subject of depiction of life in the stories and novels of the corresponding writers. Main source such a terminological characteristic is a look at the objective world and at all current events from a rural, peasant point of view, as is most often said, “from the inside.”

This literature was fundamentally different from the numerous prose and poetic narratives about village life that arose after the end of the war in 1945 and were supposed to show the rapid process of restoration of the entire way of life - economic and moral in the post-war village. The main criteria in that literature, which usually received high official praise, were the artist’s ability to show the social and labor transformative role of both the leader and the ordinary tiller. Village prose, in the now established understanding, was close to the pathos of the “sixties” with their apology for a self-valued, self-sufficient personality. At the same time, this literature abandoned even the slightest attempts to varnish the life depicted, presenting the true tragedy of the domestic peasantry in the mid-20th century.

Such prose, and it was just prose, was presented by very talented artists and energetic, bold thinkers. Chronologically, the first name here should be the name of F. Abramov, who spoke in his novels about the resilience and drama of the Arkhangelsk peasantry. Peasant life is presented less socially acutely, but aesthetically and artistically, even more expressively in the stories and short stories of Y. Kazakov and V. Soloukhin. They contained echoes of the great pathos of compassion and love, admiration and gratitude that had been heard in Russia since the 18th century, since the time of N. Karamzin, in whose story " Poor Lisa“The moral leitmotif is the words: “even peasant women know how to love.”

In the 60s, the noble and moral pathos of these writers was enriched with unprecedented social acuity. In the story “On the Irtysh” by S. Zalygin, the peasant Stepan Chauzov is glorified, who turned out to be capable of a moral feat unheard of at that time: he defended the family of a peasant accused of being hostile to the Soviet regime and sent into exile by it. With the great pathos of atonement for the guilt of the intelligentsia before the peasant, the most famous books village prose. What stands out here is A. Solzhenitsyn’s story “Matrenin’s Dvor” about a Russian village righteous woman, almost a saint, and about the peasant Ivan Shukhov, who ended up in the terrible Stalinist Gulag, but did not succumb to the devilishly destructive power of its influence. Solzhenitsyn’s story “One Day in the Life of Ivan Denisovich” was essentially the beginning of new era in the depiction of the Russian peasantry.

Russian literature has received a whole galaxy of outstanding literary artists: B. Mozhaev, V. Shukshin, V. Belov, V. Rasputin, V. Astafiev, V. Likhonosov, E. Nosov, etc. It is unlikely that any other national literature has such a constellation of creative names . In their books, Russian peasants appeared not only highly moral, kind people capable of self-sacrifice, but also as great statesmen, whose personal interests never diverge from domestic interests. In their books, a collective image of a courageous Russian peasant appeared, who defended the fatherland during the hard times of war, created a strong household and family way of life in the post-war period, discovered knowledge of all the secrets of nature and called for taking into account its laws. These peasant writers, some of whom were in the war, bringing from there a sense of military duty and soldier’s brotherhood, helped warn the state and those in power against adventurous experiments (the transfer of northern Siberian rivers to the south).

The peasant world in their books is not isolated from modern life. Authors and their characters are active participants in the current processes of our lives. However, the main advantage of their artistic thinking was their adherence to the eternal moral truths that were created by humanity throughout its centuries-old history. The books of V. Rasputin, V. Astafiev and V. Belov are especially significant in this regard. Attempts by critics to point out stylistic uniformity in village prose are unconvincing. Humorous pathos, comic situations in the plots of stories and short stories by V. Shukshin and B. Mozhaev refute such a one-sided view.

1. Tragic consequences of collectivization (“On the Irtysh” by S. Zalygin, “Death” by V. Tendryakov, “Men and Women” by B. Mozhaev, “Eves” by V. Belov, “Brawlers” by M. Alekseev, etc.).

1. A depiction of the near and distant past of the village, its current concerns in the light of universal human problems, the destructive influence of civilization (“The Last Bow”, “The King Fish” by V. Astafiev, “Farewell to Matera”, “The Last Term” by V. Rasputin, “Bitter Herbs” "P. Proskurina).

1. In the “village prose” of this period, there is a desire to introduce readers to folk traditions, to express a natural understanding of the world (“Commission” by S. Zalygin, “Lad” by V. Belov).

The 50-60s are a special period in the development of Russian literature. Overcoming the consequences of the cult of personality, getting closer to reality, eliminating the elements of non-conflict, like jewelry stones for embellishing 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 of social consciousness is revealed. This attracted writers to moral issues. An example of this is “village prose”.

The term “village prose”, included in scientific circulation and in criticism, remains controversial. And so we need to decide. First of all, by “village prose” we mean a special creative community, that is, these are primarily 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 direction strive for deep psychologism in depicting characters, for the use of local sayings, dialects, and regional words. On this basis, their interest in the historical and cultural traditions of the Russian people, in the topic of continuity of generations, grows. True, when using this term in articles and studies, the authors always emphasize that it carries an element of convention, that they use it in a narrow sense.

However, writers on rural topics are not satisfied with this, because a number of works go significantly beyond the scope of such a definition, developing the problems of spiritual understanding of human life in general, and not just of villagers.

Fiction about the village, about the peasant man and his problems over the course of 70 years of formation and development was marked by several stages: 1. In the 20s, there were works in literature that argued with each other about the paths 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 village way of life was recreated from different ideological and social positions. 2. In the 30-50s, strict control over artistic creativity already prevailed. The works of F. Panferov “Whetstones”, “Steel Ribs” by A. Makarov, “Girls” by N. Kochin, Sholokhov’s “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, there is an intensification literary life in the country. 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, appeared in the village sketch, which poses pressing social problems. (“District everyday life” 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”, “Not for the Court”, “Potholes” by V. Tendryakov, “Levers”, “Vologda Wedding” by A. Yashin, writers created a true picture of everyday life way of life of a modern village. This picture made us think about the diverse consequences of social processes of the 30-50s, about the relationship between the new and the old, about the fate of traditional peasant culture.

In the 60s, “village prose” reached a new level. The story “Matrenin's Dvor” by A. Solzhenitsyn occupies an important place in the process artistic comprehension national life. The story is new stage in the development of “village prose”.

Writers are beginning to address topics that were previously taboo:

Thus, the image of a man of the people, his philosophy, spiritual world villages, focus on the popular 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 etc.

Russian literature has always been significant in that, like no other literature in the world, it dealt with issues of morality, questions about the meaning of life and death, and posed global problems. In “village prose”, issues of morality are associated with the preservation of everything valuable in rural traditions: centuries-old national life, the way of life of the village, folk morality and folk moral principles. The theme of continuity of generations, the relationship between the past, present and future, the problem of the spiritual origins of people's life is solved differently by different writers.

Thus, in the works of Ovechkin, Troepolsky, Dorosh, the sociological factor is a priority, 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 among the people is characteristic of the work of V. Soloukhin. Y. Kuranova, V. Astafieva.

Creators and heroes.

Now it is not known exactly who and when the term “village prose”, which subsequently took root, was introduced, denoting a number of very different works by very different authors telling about rural residents. One of these authors, Boris Mozhaev, once remarked regarding the division of writers into “urban” and “rural”: “And Turgenev is a complete “village”?! But is Turgenev like Dostoevsky with his “The Village of Stepanchikov” or like Tolstoy with his “Master and Worker”?..” And then he added that, by the way, more than half of all his works were written about engineers, and about foresters, scientists , artists... “God knows who I haven’t written about!” In fact, excellent works about the peasantry were written by, for example, Chekhov and Bunin, Platonov and Sholokhov - but for some reason it is not customary to call them villagers.

Just as Solzhenitsyn is not called such - despite the fact that many believe that the beginning of the “village prose” trend in Soviet literature was laid precisely by his stories “One Day in the Life of Ivan Denisovich” and “Matryonin’s Yard”, which appeared in the early 1960s in magazine “New World”... According to the critic L. Vilchek, at one time there was dissatisfaction with some writers, “offended by the name “villagers”, who politely hinted: shouldn’t criticism find a more euphonious title for them?” Although, of course, there is and cannot be anything disparaging in the conventional name “village prose”; it was assigned to works that appeared after the war (by the way, before the war, in the 20s and 30s, criticism used a similar definition - “peasant literature”, which included such authors as Fyodor Panferov, Chapygin, Novikov-Priboy, and also Klychkova, Klyuev, Yesenin...). For specific works, but not always for their authors.

For example, in addition to the works mentioned by Solzhenitsyn, village prose includes such works by Viktor Astafiev as “The Last Bow”, “Ode to the Russian Garden”, “The Tsar Fish”, although he himself is more often (again conditionally) still attributed to representatives “military prose”; The unique work of such writers as Vladimir Soloukhin, Sergei Zalygin does not fit into any strict framework... And yet, despite the arguments for and against, the circle of “villagers” has become more or less clearly defined.

It includes such authors as A. Yashin, V. Tendryakov, F. Abramov, V. Belov, V. Rasputin, B. Mozhaev, V. Shukshin, E. Nosov, I. Akulov, M. Alekseev, V. Lichutin , V. Likhonosov, B. Ekimov... In addition, since literature in the USSR was considered a single Soviet literature, the Moldovan I. Drutse, the Lithuanian J. Avijus, the Armenian G. Matevosyan, the Azerbaijani A. Aylisli and other representatives were usually mentioned in this series fraternal republics writing on this topic. In addition to prose writers, famous publicists played a major role in the development of rural issues. The most striking work was the cycle of essays by Valentin Ovechkin, united under the general title “District Everyday Life,” published in the 50s. They told about the struggle of two secretaries of the district party committee, “conservative” and “progressive,” for their style of agricultural management. However, according to the same L. Vilchek (who, by the way, insists that Ovechkin was the founder of village prose), his journalisticism was simply a device: “The writer imitated journalism through the means of art, but such a reduction of artistic prose to the essay returned literature to real life”, and this “allowed us to paint a picture that was unthinkable in those years in novel form.” Be that as it may, Ovechkin, Efim Dorosh with his famous “Village Diary” (1956-1972), and K. Bukovsky, and later Yu. Chernichenko, A. Strelyany and other publicists left their trace in the literature devoted to the rural theme.

So, the focus of this literature was the post-war village - impoverished and powerless (it is worth remembering that collective farmers, for example, until the early 60s did not even have their own passports and could not leave their “place of registration” without special permission from their superiors). A truthful depiction of such reality in the stories “Levers” (1956) and “Vologda Wedding” (1962) by A. Yashin, the stories “Around and Around” (1963) by F. Abramov, “Mayfly - a short century” (1965) by V. Tendryakov , “From the Life of Fyodor Kuzkin” (1966) by B. Mozhaev and other similar works presented a striking contrast with the varnished socialist realist literature of that time and sometimes provoked angry critical attacks (with subsequent elaborations of the authors, including along the party line, and so on ).

“Matryonin’s Dvor” and “One Day in the Life of Ivan Denisovich” by Solzhenitsyn depicted not so much collective farm village life as specific images of two people “from the earth”: in the first story, originally entitled “A village does not stand without a righteous man,” it was told about the hardest and full of dignity life path a simple Russian woman; the second represented the psychology of a peasant held in the Gulag without guilt. In the same vein, such works by V. Rasputin were created as “Money for Maria” (1967), “Deadline” (1970), “Farewell to Matera” (1976), in which not social problems sat down, and the problems moral values people in a changing world; This kind of prose was given the definitions of “natural philosophical” and “ontological”.

After the peasantry finally received passports and was able to independently choose their places of residence and types of activities, a massive outflow of the population from rural areas to cities began; This was especially true for the so-called Non-Chernozem Zone. There remained half-empty, or even completely depopulated villages, where blatant collective and state farm mismanagement and almost general drunkenness among the remaining residents reigned... What are the reasons for such troubles? In attempts to find an answer to these questions, the authors returned their memories to the war years, when the strength of the village was strained (F. Abramov’s novels “Brothers and Sisters” and “Two Winters and Three Summers” (1958 and 1968, respectively), V. Tendryakov’s story “Three bag of weedy wheat” (1973) and others), and concerned such a disastrous phenomenon in agronomic science as “Lysenkoism”, which flourished for many years of bad memory (the stories of B. Mozhaev “A Day without End and Without End”, 1972, V. Tendryakov’s “Death” ”, 1968), or dealt with even more distant historical periods - for example, S. Zalygin’s novel about the civil war “Salty Pad” (1968) or V. Belov’s book “Lad. Essays on folk aesthetics” (1981), dedicated to the life of the pre-revolutionary community of the North...

However, the most main reason The de-peasantization of man on earth stemmed from the “Great Turning Point” (“the breaking of the backbone of the Russian people,” according to Solzhenitsyn’s definition), that is, the forced collectivization of 1929-1933. And the countryside writers were well aware of this, but before the abolition of censorship it was extremely difficult for them to convey to the reader all or at least part of the truth about this most tragic period. Nevertheless, several such works dedicated to the village just before the start of collectivization and during its first stage were still able to be published. These were the story “On the Irtysh” by S. Zalygin (1964), the novels “Men and Women” by B. Mozhaev, “Eves” by V. Belov (both 1976), and “Kasyan Ostudny” by I. Akulov (1978). During perestroika and glasnost, the “impeded” manuscripts that had previously been lying around were finally published: the second part of “Men and Women” by Mozhaev, “The Year of the Great Turning Point” by Belov (both 1987), Tendryakov’s stories “Bread for a Dog” and “A Pair of Bays” ” (1988, already posthumously) and others.

Looking at the array of village prose from today, it can be argued that it gave a comprehensive picture of the life of the Russian peasantry in the twentieth century, reflecting all the main events that had a direct impact on its fate: the October Revolution and the Civil War, War Communism and the New Economic Policy, collectivization and famine , collective farm construction and forced industrialization, war and post-war deprivations, all kinds of experiments on agriculture and its current degradation... She introduced the reader to different, sometimes very dissimilar Russian lands in their way of life: the Russian North (for example, Abramov, Belov, Yashin), central regions of the country (Mozhaev, Alekseev), southern regions and Cossack territories (Nosov, Likhonosov), Siberia (Rasputin, Shukshin, Akulov)... Finally, she created a number of types in literature that give an understanding of what Russian character is and that the most “mysterious Russian soul”. These are the famous Shukshin “eccentrics”, and the wise Rasputin old women, and his dangerous “Arkharovites”, and the long-suffering Belovsky Ivan Afrikanovich, and the fighting Mozhaevsky Kuzkin, nicknamed Zhivoy...

The bitter conclusion of the village prose was summed up by V. Astafiev (we repeat, he also made a significant contribution to it): “We sang the last lament - about fifteen people were mourners for the former village. We sang her praises at the same time. As they say, we cried well, at a decent level, worthy of our history, our village, our peasantry. But it's over. Now there are only pathetic imitations of books that were created twenty or thirty years ago. Those naive people who write about an already extinct village imitate. Literature must now break through the asphalt.”




Women are coming to the fore. Their image and their role emerges more and more clearly. So it is in “village prose” - women often play the first violin in the works. Russian women are in the spotlight because they are connected to the Russian village, it rests on their shoulders. During the Great Patriotic War the earth is depleted of people. Many did not return at all, many remained crippled, but even more were spiritually broken people.

Subconsciously or quite consciously, villagers choose women as the main characters. After all, in the villages at that time there were quite a lot of offended people: dispossession, lack of grip, lack of property. One type of man devoted himself entirely to work, trying to build a “bright future”; the second type drank and became rowdy.

Old women, young women, women “in their prime,” these are the ones who worked tirelessly in the fields, forests, on collective and state farms.

We read confirmation of this in A. Solzhenitsyn’s story “One Day in the Life of Ivan Denisovich”: “... since the war itself, not a single living soul I haven’t been added to the collective farm: all the boys and all the girls, whatever they can manage, but they go en masse either to the city to work at a factory, or to peat mining. Half of the men did not return from the war at all, and those who returned are not recognized by the collective farm: they live at home, work on the side. (....) The collective farm is pulled by those women who have been driven in since the thirties, and when they fall, the collective farm will die" (A. Solzhenitsyn collected works. volume 3. p. 28, M. 1990)

The character of strong women, physically developed, intelligent, and courageous, appears in almost all works of “village prose.” Such, for example, we find Lukashina in F. Abramov’s novel “Brothers and Sisters.” It is she who tells the whole truth without fear to the first secretary of the district committee, Podrezov, while even her husband, the chairman of the collective farm, tries to keep silent about the difficulties and find a way out on his own. Lukashina chaired the collective farm during the war. It was she who, together with the women, raised the collective farm, did all the work, often the first to go into battle in the fields, the first to come to those houses in which they received a “funeral” today. Even her own husband lost against the strong character of this woman, who tried to act within the law, but could not always find a common language with the villagers.

Babam, saying in simple language, had a hard time. But it cannot be said that all the women described in works dedicated to the village are strong and young. In V. Rasputin’s story “The Last Term” we meet old woman Anna on her deathbed. Losing last strength, living only thanks to the injections of the paramedic and the internal expectations of her daughter Tanchora - the heroine is described by the author to the smallest detail: “She dried up and towards the end she turned yellow all over - a dead man is a dead man, the breath just couldn’t come out.” (V. Rasputin “Farewell to Matera” M. 1987, p. 10)

Almost from the very first page of the story, the reader becomes aware that soon the old woman will die. But then, her children arrive, they gather around their mother’s bed and, together with them, for some time, the reader lives in anticipation of death.

“Look at Varvara, she looked like she could be their mother, and although only last year she turned sixty, she looked much worse than that and already looked like an old woman herself, and moreover, like no one else in her family, she was fat and slow. She alone learned from her mother: she also gave birth a lot, one after another, but by the time she began to give birth, they had learned to protect the children from death, and there was no war for them yet - so they were all safe and sound, only one guy was sitting in in prison, Varvara saw little joy in her children: she suffered and scandalized with them while they were growing up, she suffers and scandalizes now that they have grown up. Because of them, she grew old before her years.” (V. Rasputin “Farewell to Matera” M. . 1987 pp. 12-13)

Anna lives in anticipation of children. Lives by their joys, sadness, happiness. This type of woman is common. And not only in the village: a long-suffering mother who suffers indifference and anger from her child, turning a blind eye to his many shortcomings and waiting for the child to get better a little more.

Self-sacrifice is the main motive of the Russian soul.

We see the same old woman Katerina in V. Rasputin’s story “Farewell to Matera”. The only thing that distinguishes her from Varvara is that Katerina does not make a scandal, does not scream, but only hopes that her son, Petrukha, a drunkard, a slacker and a joker, will find the strength to “become a man.” Katerina herself sees that her son is incorrigible, he will be of no use, but she grabs onto any phrase as if it were hope given by strangers.

Women in the works of V. Rasputin play the first violin. It is on them that everything rests. Old woman Daria, the main character in the story “Farewell to Matera,” with her thoughts and feelings leads us, the reader, to the realization that native land, in which grandfathers and great-grandfathers are buried, is connected with a person by thin, invisible threads. No matter how many years pass, no matter what countries a person lives in, but in old age, when the understanding of the life lived comes, the earth itself speaks in a person. She calls him, beckons him, and if there is an opportunity to fall to her, the person’s soul calms down.

Remember the movie "Kalina Krasnaya"? the moment when Yegor went to see his mother, Kudelikha, in the hut. Upon returning, Yegor falls to the ground, rakes the turf with his fist and sobs... A church can be seen in the distant background. A little closer, Egor’s beloved birch trees.

Why does the writer Shukshin speak on the pages of the film story “Kalina Krasnaya” in a different language than the director Vasily Shukshin speaks in the film of the same name? In the script for the film, we read that Yegor stops the car, places his forehead on the steering wheel and, in a hollow voice, tells his companion that it is his mother. In the film we see a more complete picture... well, that's not the point now.

So Shukshin shows us the image of a long-suffering mother, to whom her own children bring pain. It shows in a unique way, through the son who has finally managed to understand what a mother is. That she continues to love her son. That he cannot forget about him for a second.

“The old woman nodded her dry head again, apparently trying to hold herself together and not cry, but tears dripped onto her hands, and she soon wiped her eyes with her apron. (...) A heavy silence hung in the hut...” (V. Shukshin. Complete collection works, volume 1. p. 442. M., 1994)

The same as Yegor’s mother, Kudelikha, we see main character I love you. Understanding, humane, kind. She accepts the “fallen” Yegor, takes pity on him, and with maternal feelings hopes for the “recovery” of his soul.

Female characters are the focus of attention of "hillbilly" writers. Unknown, simple, but great in their deeds, feelings and thoughts. The relationship between mother and children is reflected in many works. In addition to the above, we can find the following lines in the story “Wooden Horses” by F. Abramov:

“Milentyevna sat at the window all day, waiting for her son from minute to minute. In boots, in a warm woolen scarf, with a bundle under her hand - so that there would be no delay because of her.” (F. Abramov. collected works volume 1. page 32, M. 1987)

How capaciously, strongly and powerfully the artist manages to show not only the character of the heroine herself, but also her attitude towards her son. However, in the same story, we read the following:

“Think about what kind of girl she was. I myself am dying, I’m ruining my young life, but I remember about my mother. You yourself know how it was with boots during the war. We used to wander around on a rafting barefoot, and the ice would carry us along the river. And so Sanyushka says goodbye to life, but does not forget about his mother, his last concern is going to execution barefoot. So mother ran to the threshing floor in her footsteps, the next day of the Intercession - every finger is visible in the snow. (F. Abramov. collected works volume 1. page 31, M. 1987)

A young girl, Sanya, is worried about her mother. About getting her boots and a warm scarf and a quilted jacket... “Wear it, dear, for good health, remember me, the unfortunate one”...

Milentyevna responds to her daughter with care and love: “...They say she didn’t let anyone close to her dead daughter. She took her out of the noose herself, she washed her and put her in the coffin...” (page 30) she wanted to hide her daughter’s “shame” from people.

In just a few lines, F. Abramov shows not only the relationships between people, but also the strength of character and the depth of their feelings.

The “village theme” finds its place not only in literature. Let's remember the good old films: "It Was About Penkov", "Once Upon a Time There Was a Guy...", "Chairman", "Evdokia", "Love and Doves". Wonderfully staged and played by actors. Vivid characters and images.

However, let's return to V. Rasputin's story "The Deadline". Daughter Lucy, who has lived in the city for many years, has already adopted the habits and manners of city residents. Even her language is different from that spoken in the village. Varvara is ashamed of herself in front of her sister. Just like old woman Anna. She is ashamed that her daughter will see her mother weak, old, and fading.

But now, Lucy goes to the forest to pick mushrooms in order to calm down, to come to a harmonious state. Further, V. Rasputin describes not so much her memories associated with these places, but the spiritual changes taking place in the heroine who managed to become a “city” heroine. It seems that the earth itself is speaking to the young woman. She speaks with her own call, her own feelings, her memory. Lucy is confused: how could she forget about all this?!

Thanks to these lines, we can draw a conclusion about what has already been written about: urban, often hectic and short-lived. Rustic - tied to the land. It is eternal, because it is in this that the knowledge of life lies. It cannot be fully understood; one can only try to get closer to it.

The stories “Pelageya” and “Alka” by F. Abramov are based on the contrast between the characters of mother and daughter.

Pelageya is a strong, life-hungry nature. And at the same time, tragic. She suppresses her nature because she was brought up in the spirit of duty, like many of her peers.

Alka is an explosion of Pelageina’s nature. Retribution to parents for their forced asceticism. It finally satisfies the thirst for life, which was suppressed in the chain of many generations of the Amosovs. And hence - selfishness. Everything so far results in the satisfaction of elementary human desires - breadth of life, enjoyment of life, etc.

“V. Bulkin wrote from Nizhny Tagil on September 3, 1969: “I am 22 years old. I serve in the army. I spent my childhood in the village... I read the story with great pleasure. There has never been such a book...” Readers put “Pelageya” on a par with Russian women created in Russian and Soviet literature, compared her with the heroine of the story “Matrenin’s Dvor” by Solzhenitsyn, with Daria from V. Rasputin’s story “The Deadline” . It merges internally, not externally. She, like other heroines described by the “villagers,” draws strength and relieves fatigue by coming into contact with nature.

She bows to her superiors, but isn't this the same thing we can see today? From TV screens, newspaper pages, books? Pelageya had a goal in life. And this made her strong, like (I repeat) the generation of those women who went through the war, who survived the difficult, poor, post-war years. By the will of fate, Pelageya had to go in the collective farm "herd". But she didn’t want to, at any cost she wanted to survive, to feed her family.

In her daughter Alka, modern features can be traced. Her immediate tasks - bread, food - have been solved. She rebels against her mother and violates external asceticism. V. Shukshin, as if with strokes, painted his works in a picturesque manner. More and more - dialogues, colors, details.

The motif of village prose.

The focus of the “village writers” was the post-war village, impoverished and powerless (collective farmers until the early 60s did not even have their own passports and could not leave

"place of registration") The writers themselves were mostly from the villages. The essence of this direction was the revival of traditional morality. It was in the vein of “village prose” that such great artists as Vasily Belov, Valentin Rasputin, Vasily Shukshin, Viktor Astafiev, Fyodor Abramov, Boris Mozhaev emerged. The culture of classical Russian prose is close to them, they restore the traditions of skaz speech, develop what was already done by “peasant literature” of the 20s.

After the peasantry finally received passports and were able to independently choose their place of residence, a massive outflow of the population, especially young people, from rural areas to cities began. There remained half-empty, or even completely deserted villages, where blatant mismanagement and almost universal drunkenness reigned among the remaining inhabitants.

"Village Prose" gave a picture of the life of the Russian peasantry in the 20th century, reflecting the main events that influenced their fate: the October Revolution and the Civil War, military communism and the NEP, collectivization and famine, collective farm construction and industrialization, war and post-war deprivation, all kinds of experiments on the rural economy and its current degradation. She continued the tradition of revealing the Russian character,” creating a number of types of “ordinary people.”

The bitter conclusion of the “village prose” was summed up by Viktor Astafiev: “We sang the last lament - there were about fifteen mourners for the former village. We sang her praises at the same time. As they say, we cried well, at a decent level, worthy of our history, our village, our peasantry. But it's over. Now there are only pathetic imitations of books that were created 20-30 years ago. Those naive people who write about an already extinct village imitate. Literature must now break through the asphalt.”