Moral problems in the work exchange of trophies. What does Pushkin’s story “The Station Agent” make you think about?

Summary of a literature lesson in 11th grade

« Urban prose in modern literature".
Yu. V. Trifonov. story "EXCHANGE"

Goals: give an idea of “urban” prose of the twentieth century; consider the eternal problems raised by the author against the backdrop of urban life; determine the features of Trifonov’s work (the semantic ambiguity of the title, subtle psychologism).

Lesson progress

Take care of the intimate, the intimate: the intimacy of your soul is more valuable than all the treasures of the world!

V. V. Rozanov

I. “Urban” prose in the literature of the 20th century.

1. Working with the textbook.

Read the article (textbook edited by Zhuravlev, pp. 418-422).

What do you think the concept of “urban” prose means? What are its features?

Present your conclusions in the form of a plan.

Rough plan

1) Features of “urban” prose:

a) this is a cry of pain for a person “being turned into a grain of sand”;

b) literature explores the world “through the prism of culture, philosophy, religion.”

3) “City” prose by Yu. Trifonov:

a) in the story “Preliminary Results” he reasons with “empty” philosophers;

b) in the story “The Long Farewell” he reveals the theme of the collapse of the bright principle in a person in his concessions to philistinism.

2. Appeal to the epigraph of the lesson.

How is the content of “urban” prose related to the epigraph of today’s lesson?

II. “Urban” prose by Yuri Trifonov.

1. Vital and creative path Trifonova.

The complexity of the fate of the writer and his generation, the talent for embodying spiritual quests, the originality of manner - all this predetermines attention to life path Trifonova.

The writer's parents were professional revolutionaries. Father, Valentin Andreevich, joined the party in 1904, was sent into administrative exile in Siberia, and went through hard labor. Later he became a member of the Military Revolutionary Committee in October 1917. In 1923-1925. headed the Military Collegium of the Supreme Court of the USSR.

In the 30s, father and mother were repressed. In 1965, Yu. Trifonov’s documentary book “Reflection of the Fire” appeared, in which he used his father’s archive. From the pages of the work emerges the image of a man who “kindled a fire and himself died in this flame.” In the novel, Trifonov first used it as a unique artistic technique principle of time editing.

History will constantly disturb Trifonov (“The Old Man”, “House on the Embankment”). The writer realized his philosophical principle: “We must remember - the only possibility of competition with time is hidden here. Man is doomed, time triumphs."

During the war, Yuri Trifonov was evacuated in Central Asia and worked at an aircraft plant in Moscow. In 1944 he entered the Literary Institute. Gorky.

The memories of his contemporaries help to visually imagine the writer: “He was over forty. An awkward, slightly baggy figure, short-cropped black hair, with barely visible lambskin curls here and there, with sparse threads of gray, an open, wrinkled forehead. From a wide, slightly swollen pale face, through heavy horn-rimmed glasses, intelligent gray eyes looked at me shyly and unprotected.”

The first story “Students” is the thesis work of a novice prose writer. The story was published by the magazine New world"A. Tvardovsky in 1950, and in 1951 the author received the Stalin Prize for it.

It is generally accepted that the main theme of the writer is everyday life, the procrastination of everyday life. One of the famous researchers of Trifonov’s work, N.B. Ivanova, writes: “When reading Trifonov for the first time, there is a deceptive ease of perception of his prose, immersion in familiar situations close to us, collisions with people and phenomena known in life...” This is true, but only when reading superficially.

Trifonov himself asserted: “It’s not everyday life that I write, but being.”

The critic Yu. M. Oklyansky rightly asserts: “The test of everyday life, the power of everyday circumstances and the hero, one way or another romantically opposing them... is the cross-cutting and main theme of the late Trifonov...”

2. Problems of the story “Exchange” by Yu. Trifonov.

1) - Remember the plot of the work.

The family of Viktor Georgievich Dmitriev, an employee of one of the research institutes, lives in a communal apartment. Daughter Natasha - a teenager - behind the curtain. Dmitriev's dream of moving in with his mother did not find support from Lena, his wife. Everything changed when my mother was operated on for cancer. Lena herself started talking about the exchange. The actions and feelings of the heroes, manifested in solving this everyday issue, which ended in a successful exchange, and soon in the death of Ksenia Feodorovna, form the content of the short story.

So, exchange is the plot core of the story, but can we say that this is also a metaphor that the author uses?

2) The main character of the story is a representative of the third generation of Dmitrievs.

Grandfather Fyodor Nikolaevich is intelligent, principled, and humane.

What can you say about the hero’s mother?

Find the characteristic in the text:

“Ksenia Fedorovna is loved by friends, respected by colleagues, appreciated by her neighbors in the apartment and at Pavlinov’s dacha, because she is friendly, compliant, ready to help and take part...”

But Viktor Georgievich Dmitriev falls under the influence of his wife and “becomes foolish.” The essence of the title of the story, its pathos, the author’s position, as it follows from the artistic logic of the story, are revealed in the dialogue between Ksenia Fedorovna and her son about the exchange: “I really wanted to live with you and Natasha... - Ksenia Fedorovna was silent. - But now - no” - “Why?” - “You have already exchanged, Vitya. The exchange took place."

What is the meaning of these words?

3) What makes up the image of the main character?

Characteristics of an image based on text.

How does the emerging conflict with your wife over the exchange end?(“...He lay down in his place against the wall and turned his face to the wallpaper.”)

What does this pose of Dmitriev express?(This is the desire to escape the conflict, humility, non-resistance, although in words he did not agree with Lena.)

And here’s another subtle psychological sketch: Dmitriev, falling asleep, feels his wife’s hand on his shoulder, which first “lightly strokes his shoulder” and then presses “with considerable heaviness.”

The hero understands that his wife’s hand is inviting him to turn around. He resists (this is how the author depicts in detail internal struggle). But... “Dmitriev, without saying a word, turned on his left side.”

What other details indicate the hero’s submission to his wife when we understand that he is a driven man?(In the morning, my wife reminded me of the need to talk to my mother.

“Dmitriev wanted to say something,” but he “took two steps after Lena, stood in the corridor and returned to the room.”)

This detail - “two steps forward” - “two steps back” - is clear evidence of the impossibility for Dmitriev to go beyond the boundaries imposed on him by external circumstances.

What rating does the hero receive?(We learn his assessment from his mother and grandfather: “You are not a bad person. But you are not amazing either.”)

4) Dmitriev was denied the right to be called an individual by his relatives. Lena was denied by the author: “...she bit into her desires like a bulldog. Such a pretty bulldog woman... She didn’t let go until her desires - right in her teeth - turned into flesh..."

Oxymoron* pretty bulldog womanfurther emphasizes the author’s negative attitude towards the heroine.

Yes, Trifonov has clearly defined his position. This is contradicted by N. Ivanova’s statement: “Trifonov did not set himself the task of either condemning or rewarding his heroes: the task was different - to understand.” This is partly true...

It seems that another remark of the same literary critic: “...behind the external simplicity of presentation, calm intonation, designed for an equal and understanding reader, there is Trifonov’s poetics. And - an attempt at social aesthetic education.”

What is your attitude towards the Dmitriev family?

Would you like life to be like this in your families?(Trifonov managed to paint a typical picture family relations of our time: the feminization of the family, the transfer of initiative into the hands of predators, the triumph of consumerism, the lack of unity in raising children, the loss of traditional family values. The desire for peace as the only joy forces men to put up with their inferiority in the family. They lose their solid masculinity. The family is left without a head.)

III. Lesson summary.

What questions did the author of the story “Exchange” make you think about?

Do you agree with what B. Pankin, speaking about this story, calls a genre that combines a physiological sketch of modern urban life and a parable?

Homework.

“The exchange was published in 1969. At this time, the author was criticized for reproducing the “terrible sludge of little things”, for the fact that in his work “there is no enlightening truth”, for the fact that in Trifonov’s stories spiritual dead people roam, pretending to be alive. There are no ideals, man is crushed and humiliated, crushed by life and his own insignificance.”

Express your attitude to these assessments by answering the questions:

What in the story comes to the fore when we perceive it now?

Does Trifonov really have no ideals?

In your opinion, will this story remain in literature and how will it be perceived in another 40 years?

1) - Remember the plot of the work.

The family of Viktor Georgievich Dmitriev, an employee of one of the research institutes, lives in a communal apartment. Daughter Natasha - a teenager - behind the curtain. Dmitriev’s dream of moving in with his mother did not find support from Lena, his wife. Everything changed when my mother was operated on for cancer. Lena herself started talking about the exchange. The actions and feelings of the heroes, manifested in solving this everyday issue, which ended in a successful exchange, and soon in the death of Ksenia Feodorovna, form the content of the short story.

So, exchange is the plot core of the story, but can we say that this is also a metaphor that the author uses?

2) The main character of the story is a representative of the third generation of Dmitrievs.

Grandfather Fyodor Nikolaevich is intelligent, principled, and humane.

What can you say about the hero’s mother?

Find the characteristic in the text:

“Ksenia Fedorovna is loved by her friends, respected by her colleagues, appreciated by her neighbors in the apartment and at Pavlinov’s dacha, because she is friendly, compliant, ready to help and take part...”

But Viktor Georgievich Dmitriev falls under the influence of his wife and “becomes foolish.” The essence of the title of the story, its pathos, the author’s position, as it follows from the artistic logic of the story, are revealed in the dialogue between Ksenia Fedorovna and her son about the exchange: “I really wanted to live with you and Natasha... - Ksenia Fedorovna was silent. - But now not” - “Why?” - “You have already exchanged, Vitya. The exchange took place."

What is the meaning of these words?

3) What makes up the image of the main character?

(Characteristics of the image based on the text.)

How does the emerging conflict with your wife over the exchange end?

(“... He lay down in his place against the wall and turned his face to the wallpaper.”)

What does this pose of Dmitriev express?

(This is the desire to escape the conflict, humility, non-resistance, although in words he did not agree with Lena.)

The hero understands that his wife’s hand is inviting him to turn around. He resists (this is how the author depicts the internal struggle in detail). But... “Dmitriev, without saying a word, turned on his left side.”

What other details indicate the hero’s submission to his wife when we understand that he is a driven man?

(In the morning, my wife reminded me of the need to talk to my mother.

“Dmitriev wanted to say something, but he, “taking two steps after Lena, stood in the corridor and returned to the room.”)

This detail - “two steps forward” - “two steps back” - is clear evidence of the impossibility for Dmitriev to go beyond the boundaries imposed on him by external circumstances.

What rating does the hero receive?

(We learn his assessment from his mother and grandfather: “You are not a bad person. But you are not amazing either.”)

4) Dmitriev’s right to be called an individual was denied by his relatives. Lena was refused by the author: “... she bit into her desires like a bulldog. Such a pretty bulldog woman... She didn’t let go until her desires - right in her teeth - turned into flesh...”

Oxymoron pretty bulldog woman further emphasizes the author’s negative attitude towards the heroine.

Yes, Trifonov has clearly defined his position. This is contradicted by N. Ivanova’s statement: “Trifonov did not set himself the task of either condemning or rewarding” his heroes; the task was different - to understand.” This is partly true...

It seems that another remark of the same literary critic is more justified: “behind the external simplicity of presentation, calm intonation, designed for an equal and understanding reader - Trifonov’s poetics. And - an attempt at social aesthetic education.”

What is your attitude towards the Dmitriev family?

Would you like life to be like this in your families?

(Trifonov was able to paint a typical picture of family relations of our time: the feminization of the family, the transfer of initiative into the hands of predators, the triumph of consumerism, the lack of unity in raising children, the loss of traditional family values. The desire for peace as the only joy forces men to put up with their inferiority in the family. They lose their solid masculinity. The family is left without a head.)

III. Lesson summary.

What questions did the author of the story “Exchange” make you think about?

Do you agree with what B. Pankin, speaking about this story, calls a genre that combines a physiological sketch of modern urban life and a parable?

Homework.

“The exchange was published in 1969. At this time, the author was criticized for reproducing “terrible types of trifles”, for the fact that in his work “there is no enlightening truth”, for the fact that in Trifonov’s stories spiritual dead people roam, pretending to be alive. There are no ideals, man is crushed and humiliated, crushed by life and his own insignificance.”

Express your attitude to these assessments by answering the questions:

What in the story comes to the fore when we perceive it now?

Does Trifonov really have no ideals?

In your opinion, will this story remain in literature and how will it be perceived in another 40 years?

Lesson 31

Drama of the 50-90s.

Moral issues

Plays by Vampilov

Goals: give an overview of Vampilov’s life and work; reveal the originality of the play “Duck Hunt”; Develop the ability to analyze dramatic work

Lesson progress

I. Introductory conversation.

When do they say this: “a dream in hand”, “a prophetic dream”?

Are dreams really “prophetic”?

“Dear Tasya! - Vampilov’s father addresses his wife in anticipation of his birth... I’m sure everything is fine. And, probably, there will be a robber, and I’m afraid that he might not be a writer, since I see writers in my dreams.

The first time when you and I were getting ready, on the night of departure, I was looking for fractions in a dream with Lev Nikolaevich Tolstoy himself, and we found..."

August 19, 1937: “Well done, Tasya, she finally gave birth to a son. No matter how it justifies the second... I, you know, have prophetic dreams.”

The dreams, indeed, turned out to be prophetic. The son, the fourth child in the family, grew up into the writer-playwright Alexander Valentinovich Vampilov.

P issue of the story Y. Trifonova “Exchange”.

1) – Remember the plot of the work.

The family of Viktor Georgievich Dmitriev, an employee of one of the research institutes, lives in a communal apartment. Daughter Natasha, a teenager, is behind the curtain. Dmitriev's dream of moving in with his mother did not find support from Lena, his wife. Everything changed when my mother was operated on for cancer. Lena herself started talking about the exchange. The actions and feelings of the heroes, manifested in solving this everyday issue, which ended in a successful exchange, and soon in the death of Ksenia Feodorovna, form the content of the short story.

– So, exchange is the plot core of the story, but can we say that this is also a metaphor that the author uses?

2) The main character of the story is a representative of the third generation of Dmitrievs.

Grandfather Fyodor Nikolaevich is intelligent, principled, and humane.

– What can you say about the hero’s mother?

Find the characteristic in the text:

But Viktor Georgievich Dmitriev falls under the influence of his wife and “becomes foolish.” The essence of the title of the story, its pathos, the author’s position, as it follows from the artistic logic of the story, are revealed in the dialogue between Ksenia Fedorovna and her son about the exchange: “I really wanted to live with you and Natasha...” Ksenia Fedorovna paused. “But now - no” - “Why?” - “You have already exchanged, Vitya. The exchange took place."

– What is the meaning of these words?

3) What makes up the image of the main character?

Characteristics of an image based on text.

– How does the emerging conflict with your wife over the exchange end?(“...He lay down in his place against the wall and turned his face to the wallpaper.”)

– What does this pose of Dmitriev express?(This is the desire to escape the conflict, humility, non-resistance, although in words he did not agree with Lena.)

– And here’s another subtle psychological sketch: Dmitriev, falling asleep, feels his wife’s hand on his shoulder, which first “lightly strokes his shoulder” and then presses “with considerable heaviness.”

– What other details indicate the hero’s submission to his wife when we understand that he is a driven man?(In the morning, my wife reminded me of the need to talk to my mother.

“Dmitriev wanted to say something,” but he “took two steps after Lena, stood in the corridor and returned to the room.”)

This detail - “two steps forward” - “two steps back” - is clear evidence of the impossibility for Dmitriev to go beyond the boundaries imposed on him by external circumstances.

– What rating does the hero receive?(We learn his assessment from his mother and grandfather: “You are not a bad person. But you are not amazing either.”)

Oxymoron* pretty bulldog woman further emphasizes the author’s negative attitude towards the heroine.

It seems that another remark of the same literary critic is more fair: “... behind the external simplicity of presentation, calm intonation, designed for an equal and understanding reader, there is Trifonov’s poetics. And – an attempt at social aesthetic education.”

– What is your attitude towards the Dmitriev family?

– Would you like life to be like this in your families?(Trifonov was able to paint a typical picture of family relations of our time: the feminization of the family, the transfer of initiative into the hands of predators, the triumph of consumerism, the lack of unity in raising children, the loss of traditional family values. The desire for peace as the only joy forces men to put up with their inferiority in the family. They lose their solid masculinity. The family is left without a head.)

Alexander Sergeevich Pushkin is a man of broad, liberal, “censored” views. It was hard for him, a poor man, to be in a secular hypocritical society, in St. Petersburg, with a palace sycophantic aristocracy. Away from the “metropolis” of the 19th century, closer to the people, among open and sincere people, the “descendant of the Arabs” felt much freer and “at ease.” Therefore, all of his works, from epic-historical ones to the smallest two-line epigrams dedicated to the “people”, breathe respect and love.

Pushkin was very sorry for the “small” and “unfortunate” people. His story " Stationmaster"is imbued with this benevolent pity.

The narrative is symbolically divided into three parts, which are far from equal in number of words. The number of them (parts) is equal to the number of passages through the station where our poor caretaker serves and lives.

The first “chapter” of the story is colorful and verbose. Descriptions of nature and portraits, emotions of characters and their actions, interspersed with dialogues. Meet Samson Vyrin and his teenage daughter Dunya. Reflections on how these poor, provincial officials can be insulted and humiliated by anyone passing by without a second thought. And then go on, in a fur coat, on a sleigh, in deeds and hopes. And he, this caretaker, is a 14th “class” official (that is, smallest fry, no one at all), remains here, alone, in the wilderness, with his experiences, swallowed by undeserved grievances, rude words and the complete impossibility of correcting anything, discussing what happened with someone, or even making a trivial complaint!

Such “little people” have neither their own home, nor money, nor connections. No family jewels, not even a decent tailcoat. And why does he, Vyrin, need a tailcoat? Where to go in it? The only thing that makes up his wealth, dignity and almost senile pride is his daughter, Dunya. A modest, pious girl, growing up without a mother, will be a support in her decrepitude.

"Chapter" two. In a few years. Our narrator was passing through that direction again on his own business. I met with the caretaker with pleasure and sincere joy. But he grew old, declined, and started drinking. Because there was only one left. Dunya drove off to the city with the officer. And she didn’t want to return. It seemed better to her to live dishonored with a brave warrior than to drag out a gray, miserable, dull existence at the station. The daughter destroyed the whole world, already not rosy, of her own unfortunate father. Our author felt sorry for Samson, but what can we do? There is absolutely nothing to help in such a situation.

Third "Chapter". Short, deliberately written without obvious emotions. For the third time, and probably the last time, the author passed through the station. The caretaker was different, unfamiliar. What about Vyrin? Yes, he died. And one day a lady, smart and rosy-cheeked, came to his grave. With the kids. No one, of course, recognized Dunya in her...

Everything turned out worthy, noble, and rich for my daughter. But the father, not knowing this, still died of grief...

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Introduction Love poetry occupies one of the main places in the work of poets, but the degree of its study is small. There are no monographic works on this topic; it is partially covered in the works of V. Sakharov, Yu.N. Tynyanova, D.E. Maksimov, they talk about it as a necessary component of creativity. Some authors (D.D. Blagoy and others) compare the love theme in the works of several poets at once, characterizing some common features. A. Lukyanov considers the love theme in the lyrics of A.S. Pushkin through the prism [...]

Federal Agency for Education Russian Federation

State educational institution higher vocational education

Far Eastern State Social and Humanitarian Academy

TEST

Introduction.

1. The name “Exchange” has a double meaning.

2. “Exchange” of the main character Dmitriev’s decency for meanness.

Conclusion.

Introduction

Trifonov exchange story

Everyone knows that it is easier to love all of humanity than to love, cherish, build and maintain normal relationships with your loved ones - husband, wife, mother-in-law, mother-in-law, daughter-in-law, son-in-law... Yuri Trifonov in his “Moscow” stories “Exchange”, “ Another Life”, “House on the Embankment”, “The Long Farewell”, “Preliminary Results” plunges its heroes into the “abyss” of everyday life. For the characters in his works, everyday life is both a habitat, a place of action, and a kind of litmus test that tests their decency and moral strength. In the everyday content of life, the writer finds hidden potential and recreates everyday life as the sphere of things, events, relationships, which is the source of the creative, cultural, historical, moral, and philosophical content of life.

As the writer himself wrote in one of his articles, “everyday life is a great test. There is no need to talk about it contemptuously, as about the base side of human life, unworthy of literature. After all, everyday life is ordinary life, a test of life, where a new, modern morality is manifested and tested.

Relationships between people are also everyday life. We find ourselves in an intricate and complex structure of everyday life, at the intersection of many connections, views, friendships, acquaintances, dislikes, and ideologies” (2).

For the heroes of Trifonov’s stories, everyday life is a source of endless tension, conflicts, disputes, and misunderstandings. Moreover, the world of everyday life becomes a source of conflict (ideological, social, love, family), as a rule, at the moment of actualization " housing issue».

1. It would seem that the name “Exchange” is too ordinary, everyday for a work of art; it is more likely a section in an advertising publication, and simply a matter familiar to our lives. Much more common than at the time the story was written, which was 1969. “Exchange is a word firmly assigned to a certain area of our life, immediately evoking in most people habitual associations generated both by their own experience and the surrounding everyday life... This business-like word is unexpectedly included in the title by Trifonov” (4).

But the writer puts a double meaning into the title, as well as into the content of the story itself. Not only the actual exchange of some square meters for others, as one might assume at the very beginning, but also what happens to the main character of the work, Viktor Dmitriev. In this regard, the story “Exchange,” on the one hand, is a very typical work for Trifonov’s work, and on the other hand, it is deep and strong in its emotional impact, which, in principle, is also characteristic of other novels and stories of this writer. Because the description of everyday, everyday details is one layer of the story, through which another peeks through - the moral one. Even after a long time after reading it, you think about the characters and actions of the main character and other characters in the story, about Lena’s actions and Dmitriev’s inaction, you regret and empathize, agree and condemn, measure your own life with a different measure.

The story “Exchange” has, at first glance, a simple plot, and outwardly everything in it is really connected with an apartment exchange: Dmitriev’s wife, Lena, offers to exchange a good twenty-meter apartment for her mother-in-law, Ksenia Fedorovna, and their own room in the communal apartment where they live three of us, for shared housing. That is, move in together. The pretext under which this exchange is made seems plausible: Ksenia Fedorovna’s illness, which needs care. In a different situation, the exchange could actually be a good thing - if not for the “ossified and lasting enmity” between Lena and her mother-in-law. At the same time, Ksenia Fedorovna speaks out categorically against the exchange, and then unexpectedly agrees.

2. The idea of exchange appears literally in the first paragraph of the story, and with the completion of the exchange and the death of Ksenia Feodorovna, the work ends. At the same time, the reader experiences Dmitriev’s life, his childhood, youth, love, his doubts, conflicts with his wife and mother, mental turmoil, suffering, relationships with other people. Although the narration is told not from the first person, but from the third, the writer suggests following the development of events through the eyes of Dmitriev. The reader, as it were, gets into his skin and doubts, suffers, and commits actions with him. We learn about the main character and judge ourselves as we do about ourselves - not only by actions, but also by thoughts, movements of the soul - unlike other characters, whom we know only by their actions. Dmitriev suffers, knowing that his mother and wife cannot stand each other, and for the mother this exchange will only bring suffering, but does not stop the wife, although he should have done so. He tries to evade the situation, not to make a moral compromise, but also not to confront evil directly, not to interfere. However, such a position of non-resistance to evil ultimately turns into evil. The exact moral diagnosis of his inaction are the words of Ksenia Fedorovna: “You have already exchanged, Vitya. The exchange took place...” (1).

3.One of the important ways of expression author's position is the use of the so-called “little things in life”. This term was introduced by Saltykov-Shchedrin in his series of essays “Little Things in Life”. In the story “Exchange,” through the prism of little things, the relationships between family members are clearly seen, and the hidden motives of the characters’ actions are revealed. Yuri Trifonov deliberately enlarges the “little things in life” in order to highlight the personal qualities of the characters, capture the subtlest nuances of the soul, and reveal the true motives of actions. These “little things” serve as a kind of signaling system in the story: a piece of clothing, a household item, a gesture, a smell play the role of an author’s commentary, complementing and concretizing the words spoken by the characters. Everyday detail, the particularity of human life, inconspicuous and at first glance insignificant, helps Trifonov open the framework of the narrative and discover depth in the structure of everyday life. For example, in an episode of a meeting with Tanya in her apartment, the author says that Dmitriev’s love was inseparable from the smell of paint and fresh oak floors. Some, at first glance, even insignificant details, create not only images, they are a kind of key to plot collisions - tomatoes on the balcony of Nevyadomsky’s exclusive, almost “general” apartment, obtained through an exchange with his terminally ill mother-in-law - this is a symbolic designation of the upcoming exchange Dmitrievs.

About his sister Laura, Dmitriev says that her thoughts never bend. One episode related to the funeral of Dmitriev’s grandfather, in which death looks as ordinary and everyday as possible. His grandfather was always spiritually close to him; he was the only person thanks to whom Victor maintained a living connection with his mother and sister. Despite this, his grandfather’s funeral does not cause him any mental suffering. A thick yellow briefcase with several cans of saury bought for Lena, which Dmitriev thinks about all the time, afraid to forget it in the crematorium, deliberately reduces the tragedy of the loss of a loved one. There is no trace of tragedy in this episode; one can conclude that the hero is mentally callous. And a detail of the opposite nature - having discovered a German shepherd without an owner in a trolleybus, Dmitriev gets off at the nearest stop himself and calls the dog. He is worried that the animal may die if it travels too far. And the episode with the portrait of Dmitriev Sr.? Lena took it out of the middle room into the hallway, which, in Laura’s opinion, was not a household trifle, but simply tactless. In Lena’s perception, on the contrary, this is a trifle: she took down the portrait only because she needed a nail for the wall clock. This episode then triggers a whole chain of negative events - a quarrel between the spouses, the departure of the Lukyanovs, Lena's parents.

In the description of the Dmitrievs' marital bedroom, the emphasis is placed on such a detail as two pillows, one of which had a less recent pillowcase; this pillow belonged to Dmitriev. The contrast between the stale pillowcase and Lena's fresh nightgown is evidence of the fading feelings between the spouses. Details of this kind are scattered throughout the pages of the story very generously, and they are more eloquent than the author’s verbose comments. An attentive reader easily finds the subtext in them and understands its meaning.

The author’s reflections on life, including unexpected ones, are conveyed by Dmitriev’s thoughts: “In this world, it turns out, it is not people who disappear, but entire nests, tribes with their way of life, conversations, games, music. They disappear completely, so that no trace can be found” (1:33).

One of the strongest ways to express the author’s position is to use a different language style, in this case an official business style. In “Exchange” Trifonov resorts to this technique once - when describing the exchange process itself, he uses a clerk, which, we understand, work of art cannot decorate; on the contrary, it depersonalizes everything: “... all the documents were in order: a document confirming family relations, that is, Dmitriev’s birth certificate; b) copies of orders issued at one time for the right to occupy residential space; c) extracts from house books”... (1, 72) The author avoids direct assessments, nevertheless, the author’s position in relation to the characters in the story, or rather, to their specific act, is more than definitely expressed in this way.

Life changes the character of the main character of the story, Viktor Dmitriev, and does not change for the better. Dmitriev does not condemn Lena’s spiritual callousness. He calls this a certain spiritual inaccuracy, and this property became aggravated when another, strongest quality of Lena came into play: the ability to achieve her own. But under her influence, he himself becomes indifferent, indifferent to the suffering of others, becomes capable of meanness, in a word, morally degenerates. “Only as a result of the whole exchange story will the sad outcome of his family life, a series of his petty capitulations to the principles of Lena and her parents” (4, 11). Sister Laura calls this process “olukyanization” (Lukyanovs is the surname of Lena and her parents).

At the same time, Dmitriev is tolerant of manifestations of spiritual callousness in other people - so, he reflects on sympathy and insight. These reflections seem cynical: “This sympathy and this insight are as big as boots or hats. They should not be stretched too much. But, my God, is it really possible to compare - a man dies and a girl enters the music school? Yes, yes. Can. These are hats of approximately the same size - if a stranger dies, and your own daughter goes to music school” (1, 16). With these reflections of the main character, who justifies other people’s callousness, moral deafness (because he himself thinks the same way), Trifonov gives an assessment of the moral troubles of society.

Portrait characteristics the main character and other characters in the story are also a way of expressing the author’s position. The portrait of Dmitriev is given twice, and both times very briefly. In the episode of the meeting with Lena, when he is not very young (we know that he is 37), overweight, with an unhealthy complexion, with the eternal smell of tobacco in his mouth. The second time Dmitriev’s appearance is described is at the very end of the story: “He somehow immediately gave up, turned gray. Not an old man yet, but already an elderly man with limp cheeks” (1, 72). As for his character traits, his “always weak-heartedness” is emphasized. Moral degradation the hero was also reflected in his appearance. Meanwhile, the author says that he remembers him as a boy at Pavlinov’s dachas: “Then he was a fat man, we called him Vituchny.”

Trifonov shows Dmitriev's relationship with two women - his wife Lena and his colleague, former lover Tanya. The gaze of the hero in love sees complete image the woman he loves, the unloved hero captures only the little things, the details. The fact that Lena is an unloved wife is evidenced by numerous portrait sketches, although fluent, but with a negative connotation. “The gaze of an unloving person notes flaws in appearance and wardrobe, not shaded attractive features, that’s why the whole image falls apart into little things, seems mundane and insufficiently lyrical” (2, 28). Lena’s appearance emphasizes something massive and heavy: thick, ugly arms, a heavy body. In Tanya’s appearance, on the contrary, one is struck by a piercing, touching fragility and thinness. When Dmitriev fell in love with Tanya, it seemed to him that he had “joined that normal, truly human state in which people should – and will eventually – find themselves.” This is also a very important reflection, echoing Chekhov’s “what we experience when we are in love is the normal state.”

Conclusion

At the time of the events of the story, Dmitriev does not love either Tanya or Lena - for the simple reason that he is not capable of strong feelings. Tanya evokes much more reader (and author) sympathy. Dmitriev knows that Tanya will always love him: she is sincere, natural, “real.” She does not blame Dmitriev for ruining her life. She is happy just because she loves. Meanwhile, Viktor Georgievich, although he does not love his wife and quarrels with her, as happens in any family, his views on life and people are much closer to Lena than to Tanya. Of all the people living on earth, he had the only truly close person, his mother, but he was unable to protect her either.

A true master of words, an excellent writer, Yuri Trifonov reflects and evaluates the processes taking place in life in his works of “urban” prose. He does not idealize what is happening, but gives assessments, sometimes explicit, more often expressed with restraint, forcing us to think about own life.

LIST OF REFERENCES USED

1.Trifonov Yu. Exchange. Collected works in 4 volumes, volume 2. M, 1985

2. Cherdantsev V. Urban prose of Yuri Trifonov. M, 2001

3. Trifonov Yu. Sacrifice, choose, decide. Collection Op. in 4 volumes, volume 4. M., 1985

4. Turkov A. Life, people, history. M, 1985

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