Village prose: general characteristics and writers of village prose. Village prose Vasily Shukshin

village prose— significant, spiritually and aesthetically effective thematic direction in literature 1960 - early. 1980s, comprehending the dramatic. the fate of the cross, rus. villages in the 20th century, marked by heightened attention to issues of tradition, Nar. morality, the relationship between man and nature. Declaring itself in "The Vologda Wedding" (1962) by A. Yashin, especially strongly in the story by A. Solzhenitsyn "Matrenin Dvor" ("There is no village 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. Mozhaeva, V. Rasputin, V. Lichutin and other authors. Created in an era when the country has become preim. urban and disappears into oblivion, the cross that has been taking shape for centuries. way of life, D.P. is permeated with motives of farewell, "deadline", "last bow", the destruction of a rural house, as well as longing for lost morals. values ​​ordered by the patriarch. life, unity with nature. For the most part, the authors of books about the countryside are natives of it, intellectuals in the first generation: in their prose, the life of the villagers comprehends itself. Hence the lyric. the energy of the narrative, "partiality" and even a certain idealization of the story about the fate of the Russian. villages.

H ut earlier than the poetry of the “sixties”, in Russian literature, the strongest literary trend in terms of problems and aesthetics, called village prose, developed. This definition is connected with more than one subject of the depiction of life in the stories and novels of the corresponding writers. The main source of such a terminological characteristic is a view of the objective world and all current events from a rural, peasant point of view, as it is most often said, “from within”.

This literature was fundamentally different from the numerous prose and verse stories about village life that arose after the end of the war in 1945 and were supposed to show the rapid process of restoring the entire way of life - economic and moral in the post-war village. The main criteria in that literature, which, as a rule, received a high official assessment, were the ability of the artist to show the social and labor transformative role of both the leader and the ordinary tiller. Rural prose, in the now well-established understanding, was close to the pathos of the “sixties” with their apology for a valuable, self-sufficient personality. At the same time, this literature refused even the slightest attempt to varnish the depicted life, presenting the true tragedy of the domestic peasantry in the middle of the 20th century.

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

In the 1960s, the noble and moral pathos of these writers was enriched by an unprecedented social acuteness. In S. Zalygin's story "On the Irtysh", the peasant Stepan Chauzov is sung, 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 government and sent into exile by it. The most famous books of rural prose appeared before the peasant in the national literature with great pathos of expiation of the guilt of the intelligentsia. Here stands out the story of A. Solzhenitsyn "Matryona Dvor" about a Russian village righteous woman, almost a saint, and about a peasant Ivan Shukhov, who fell into the terrible Stalinist Gulag, but did not succumb to the diabolically destructive power of his influence. Solzhenitsyn's story "One Day in the Life of Ivan Denisovich" was the beginning, in essence, of a new era in the depiction of the Russian peasantry.

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

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

Village prose of the 60-90s.

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

1. The image of the near and distant past of the village, its current worries in the light of universal problems, the destructive influence of civilization (“The Last Bow”, “King Fish” by V. Astafiev, “Farewell to Matera”, “Deadline” by V. Rasputin, “Bitter Herbs » P. Proskurin).

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

Women's images in rural prose.

The 1950s and 1960s are a special period in the development of Russian literature. Overcoming the consequences of the cult of personality, rapprochement with reality, the elimination of elements of non-conflict, like jewelry stones for embellishing life - all this is typical 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 criticism, remains controversial. And so we need to decide. First of all, by "village prose" we mean a special creative community, that is, first of all, these are works united by a common theme, the formulation of moral, philosophical and social problems. They are characterized by the image of an inconspicuous hero-worker, endowed with life wisdom and great moral content. Writers of this trend strive for deep psychologism in the depiction of characters, for the use of local sayings, dialects, and regional catchwords. On this basis, their interest in the historical and cultural traditions of the Russian people, in the topic of the continuity of generations, grows. True, when using this term in articles and studies, the authors always emphasize that it has an element of conventionality, that they use it in a narrow sense.

However, this does not suit the writers of the rural theme, because a number of works go far beyond the scope of such a definition, developing the problems of the spiritual understanding of human life in general, and not just villagers.

Fiction about the village, about the peasant man and his problems over the course of 70 years of formation and development is marked by several stages: 1. In the 1920s, there were works in literature that argued with each other about the ways of the peasantry, about the land. In the works of I. Volnov, L. Seifullina, V. Ivanov, B. Pilnyak, A. Neverov, L. Leonov, the reality of the rural way of life was recreated from different ideological and social positions. 2. In the 1930s and 1950s, tight control over artistic creation already prevailed. In the works of F. Panferov "Bars", "Steel Ribs" by A. Makarov, "Girls" by N. Kochin, Sholokhov "Virgin Soil Upturned" reflected negative trends in the literary process of the 30-50s. 3. After the exposure of Stalin's personality cult and its consequences, literary life in the country is activated. This period is characterized by artistic diversity. Artists are aware of their right to freedom of creative thought, to historical truth.

New features, first of all, were manifested in the village essay, which poses acute social problems. (“Regional weekdays” by V. Ovechkin, “At the middle level” by A. Kalinin, “The fall of Ivan Chuprov” by V. Tendryakov, “Village diary” by E. Dorosh “).

In such works as “From the Notes of an Agronomist”, “Mitrich” by G. Troepolsky, “Bad Weather”, “Out of Court”, “Bumps” by V. Tendryakov, “Levers”, “Vologda Wedding” by A. Yashin, the writers created a true picture of everyday lifestyle of the modern village. This picture made us think about the diverse consequences of the social processes of the 30-50s, about the relationship of the new with the old, about the fate of traditional peasant culture.

In the 1960s, "village prose" reached a new level. The story "Matrenin Dvor" by A. Solzhenitsyn occupies an important place in the process of artistic comprehension of folk life. The story represents a new stage in the development of "village prose".

Writers are beginning to turn to topics that used to be taboo:

Thus, the image of a person from the people, his philosophy, the spiritual world of the village, the orientation to the folk word - all this unites such different writers as F. Abramov, V. Belov, M. Alekseev, B. Mozhaev, V. Shukshin, V. Rasputin, V. Likhonosov, E. Nosov, V. Krupin and others.

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

So, in the works of Ovechkin, Troepolsky, Dorosh, the priority is the sociological factor, which is due to the genre nature of the essay. Yashin, Abramov, Belov connect the concepts of "home", "memory", "life". They associate the fundamental foundations of the strength of people's life with the combination of spiritual and moral principles and the creative practice of the people. The theme of the life of generations, the theme of nature, the unity of tribal, social and natural principles in the people is characteristic of the work of V. Soloukhin. Yu. Kuranova, V. Astafieva.

Creators and Heroes.

Now it is not known exactly by whom 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 about the division of writers into “urban” and “village”: “But Turgenev is a complete “village”?! But does Turgenev look like Dostoevsky with his “The Village of Stepanchikovo” or Tolstoy with his “Master and Worker”? , artists... “God knows who I just didn’t write about!” In fact, wonderful works about the peasantry were left, for example, by Chekhov and Bunin, Platonov and Sholokhov - but for some reason it is not customary to call them villagers.

Just as Solzhenitsyn is not called as such, despite the fact that many believe that the beginning of the “village prose” direction in Soviet literature was laid precisely by his stories “One Day in the Life of Ivan Denisovich” and “Matryonin Dvor”, which appeared in the early 1960s in Novy Mir magazine... According to critic L. Vilchek, at one time there was dissatisfaction with some writers, “offended by the name“ villagers ”, politely hinting: shouldn’t criticism find a more euphonious title for them?” Although, of course, there is nothing disparaging in the conditional name “village prose” and cannot be; it was fixed for the works that appeared after the war (by the way, before the war, in the 20-30s, criticism operated with a similar definition - “peasant literature”, which included such authors as Fyodor Panferov, Chapygin, Novikov-Priboy, and also Klychkov, Klyuev, Yesenin...). For specific works, but not always for their authors.

For example, in addition to the things Solzhenitsyn mentioned, such works by Viktor Astafiev as “The Last Bow”, “Ode to the Russian Garden”, “Tsar-Fish” belong to the village prose, although he himself is more often (again conditionally) referred to as representatives "military prose"; the original 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” was 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. Yekimov ... In addition, since literature in the USSR was considered a single Soviet literature, this series usually mentioned Moldavian I. Druta, Lithuanian J. Avizhius, Armenian G. Matevosyan, Azerbaijani A. Aylisli and other representatives fraternal republics writing on this topic. In addition to prose writers, well-known publicists played an important role in the development of rural problems. The most striking work was a cycle of essays by Valentin Ovechkin, united under the general title "Regional Weekdays", published in the 50s. They told about the struggle of two secretaries of the district committee of the party, "conservative" and "progressive", for their own style of managing agriculture. However, according to the same L. Vilchek (who, by the way, insists that it was Ovechkin who was the ancestor of village prose), his publicism was just a trick there: “The writer imitated journalism by means of art, but such a reduction of artistic prose to an essay returned literature to real life”, and this “made it possible to paint a picture that was unthinkable in those years in a novel form”. Be that as it may, both Ovechkin and Yefim Dorosh with his once famous “Village Diary” (1956-1972), and K. Bukovsky, and later Yu. Chernichenko, A. Strelyany and other publicists left their trace in the literature on the rural theme.

So, the focus of this literature was the post-war village - impoverished and disenfranchised (it is worth remembering that, for example, collective farmers, until the beginning of the 60s, did not even have their own passports and could not leave their “place of registration” without special permission from their superiors). A true image of such a reality in the stories of A. Yashin "Leverage" (1956) and "Vologda wedding" (1962), the stories "Around the bush" (1963) by F. Abramov, "Maf is a short century" (1965) by V. Tendryakov , “From the life of Fyodor Kuzkin” (1966) by B. Mozhaev and in other similar works was a striking contrast with the varnishing socialist realist literature of that time and sometimes provoked angry critical attacks (with subsequent studies of the authors, including those on the party line, and other ).

“Matryonin Dvor” and “One Day in the Life of Ivan Denisovich” by Solzhenitsyn depicted not so much collective farm village life as concrete images of two people “from the earth”: in the first story, originally titled “A Village Doesn’t Stand Without a Righteous One”, it told about the hardest and most dignified life the ways of a simple Russian woman; the second represented the psychology of the peasant, who was imprisoned in the Gulag without guilt. In the same vein, such works by V. Rasputin as “Money for Mary” (1967), “Deadline” (1970), “Farewell to Matyora” (1976) were created, in which not the social problems of the village came to the fore, and the problems of the moral values ​​of the people in a changing world; definitions of "natural-philosophical" and "ontological" were given in this kind of prose.

After the peasantry finally received passports and was able to independently choose their places of residence and activities, a massive outflow of the population from the countryside to the cities began; this was especially true of the so-called non-chernozem zone. There remained half-empty, or even completely depopulated villages, where flagrant collective-farm mismanagement and almost general drunkenness among the remaining inhabitants reigned ... What are the reasons for such troubles? In an attempt to find an answer to these questions, the authors returned to their memory during the war years, when the strength of the village was torn (the novels by F. Abramov “Brothers and Sisters” and “Two Winters and Three Summers” (1958 and 1968, respectively), the story by V. Tendryakov “Three a sack of weed wheat” (1973) and others), and touched upon such a disastrous phenomenon in agronomic science as “Lysenkoism” that flourished for many years of bad memory (B. Mozhaev’s story “A Day Without End and Without Edge”, 1972, V. Tendryakov ”, 1968), or were engaged in 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 main reason for the de-peasantization of man on earth stemmed from the “Great Break” (“breaking the backbone of the Russian people,” according to Solzhenitsyn), that is, the forced collectivization of 1929-1933. And village 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 before the very beginning of collectivization and during its first stage were still able to go to print. These were S. Zalygin's story "On the Irtysh" (1964), B. Mozhaev's novels "Men and Women", V. Belov's "Eve" (both - 1976), I. Akulov's "Kasyan Ostudny" (1978). During perestroika and glasnost, the “impossible” manuscripts that had previously been lying on the tables were finally published: the second part of Mozhaev’s Men and Women, Belov’s Year of the Great Break (both 1987), Tendryakov’s stories Bread for a Dog and A Pair of Bay ” (1988, already posthumously) and others.

Looking at the array of rural prose from today, it can be argued that it gave an exhaustive 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, military and post-war hardships, all kinds of experiments on agriculture and its current degradation ... She introduced the reader to different, sometimes very dissimilar in their way of life, Russian lands: the Russian North (for example, Abramov, Belov, Yashin), the central regions of the country (Mozhaev, Alekseev), the southern regions and the Cossack regions (Nosov, Likhonosov), Siberia (Rasputin, Shukshin, Akulov) ... Finally, she created a number of types in literature that give an understanding of what is the Russian character and that the most “mysterious Russian soul”. These are the famous Shukshin "freaks", and the wise old Rasputin women, and his dangerous "Arkharovtsy", and the long-suffering Belovsky Ivan Afrikanovich, and the fighting Mozhaevsky Kuzkin, nicknamed Zhivoy ...

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




Women come to the fore. Their image, their role, is becoming more and more clear. So it is in "village prose" - women often play the first violin in works. Russian women are in the center of attention, because they are connected with the Russian village, it rests on their shoulders. During the Great Patriotic War, the land became impoverished with people. Many did not return at all, many remained crippled, but even more - spiritually broken people.

Subconsciously or quite consciously, the 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 possession, not the estate. One type of men gave all of himself to work, trying to build a "bright future", the second type drank and rowdy.

Old women, young women, women "in the very juice" - that's who tirelessly worked in the fields, forests, on collective farms 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 has been added to the collective farm: all the guys and girls, all who somehow manage, but leave en masse or go to the city for half of the peasants did not return from the war at all, and those who returned - they do not recognize the collective farm: they live at home, work on the side. they will fall down - and the collective farm will die "(A. Solzhenitsyn collected works. Volume 3. p. 28, M. 1990)

The character of strong women, physically developed, smart, 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, without fear, tells the whole truth 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, to find a way out on his own. Lukashina chaired the collective farm during the war years. It was she who, together with the women, raised the collective farm, did all the work, often the first to go to battle in the fields, the first to come to those houses in which they received a "funeral" today. Against the strong character of this woman, even her own husband lost, who sought to act within the law, but could not always find a common language with the villagers.

Babam, in simple terms, had a difficult fate. But it cannot be said that all the women described in the works dedicated to the village are strong, young. In V. Rasputin's story "The Deadline" we meet the old woman Anna on her deathbed. Losing her last strength, living only thanks to the injections of the paramedic and the internal expectation of her daughter Tanchora, the heroine is spelled out by the author to the smallest detail: "It dried up and turned yellow towards the end - the dead man is dead, just that the breath did not come out." (V. Rasputin "Farewell to Mother" 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 now, her children arrive, they gather around the mother's bed and with them, for some time, the reader lives in anticipation of death.

“Look at Varvara, she looked like a mother to them, and although only last year she turned her sixties, she looked much worse than this and already looked like an old woman herself, and more than anyone else in the clan, she was fat and slow. She alone adopted from her mother: she also gave birth a lot, one after another, but by the time she began to give birth, they learned to protect the children from death, and there was no war for them yet - therefore they were all safe and sound, only one guy was sitting in Barbara saw little joy in her children: she suffered and quarreled with them while they were growing up, she is tormented and scandalous now that they have grown up. Because of them, she has grown old before her years. 1987 pp. 12-13)

Anna lives in expectation of children. Lives their joys, sadness, happiness. This type of woman is common. And not only in the village: a long-suffering mother who suffers from her child indifference, anger, closing her eyes 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.

The same, we see the old woman Katerina in V. Rasputin's story "Farewell to Matera". She is distinguished from Varvara only by the fact that Katerina does not scandalize, does not scream, but only hopes that her son, Petrukha, is a drunkard, an idler and a joker, who will find the strength in himself to "become a man." Katerina herself sees that her son is incorrigible, there will be no sense from him, but she grabs at any phrase, as if it were a hope given by strangers.

Women in the works of V. Rasputin play the first violin. It is on them that everything rests. The 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 the 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 in what countries a person lives, but in old age, when the comprehension of the life lived comes, the earth itself speaks in a person. She calls him, beckons, and if there is an opportunity to fall to her, the soul of a person calms down.

Remember the movie "Kalina Krasnaya"? the moment when Yegor went to his mother - Kudelikh in the hut. Upon his return, Yegor falls to the ground, rakes the turf with his fist and sobs ... A church can be seen in the far background. A little closer, so beloved by Yegor birches.

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, leans his forehead against the steering wheel and, in a sagging voice, tells his companion that this 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 peculiar way, through the son who finally managed to understand what a mother is. That she continues to love her son. That she can't forget about him for a second.

“The old woman nodded her dry head again, evidently wanted 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. Full collected works, volume 1. p. 442. M., 1994)

The same as Yegor's mother - Kudelikh, we see the main character Lyuba. Understanding, humane, kind. She accepts the "fallen" Yegor, pities him, with maternal feelings she hopes for the "recovery" of his soul.

Women's characters in the center of attention of the writers of the "villagers". 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:

"All day Milentievna sat at the window, waiting for her son from minute to minute. In boots, in a warm woolen scarf, with a bundle under her arm - so that there would be no delay because of her." (F. Abramov. collected works, volume 1. p. 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 a girl she was. I’m dying myself, ruining my young life, but I remember about my mother. You know how it was with boots in the war. Sanyushka says goodbye to her life, but she does not forget about her mother, her last concern. She goes barefoot to the execution. So her mother, following her footprints, ran to the threshing floor. It was not too early, the next day of the Intercession - every finger in the snow can be seen. " (F. Abramov. Collected Works Volume 1. p. 31, M. 1987)

The young girl Sanya worries about her mother. About her getting her boots and a warm scarf and a padded jacket ... "wear, dear, to your health, remember me, miserable" ...

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

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

The "village theme" finds its place not only in literature. Recall the good old films: "It was in Penkovo", "There was such a guy ...", "Chairman", "Evdokia", "Love and doves". Wonderfully staged and played by the actors of the picture. Bright characters and images.

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

But now, Lucy goes to the forest for 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 as the spiritual changes taking place in the heroine who managed to become an "urban" heroine. The earth itself seems to speak to the young woman. She speaks with her call, her own feelings, her memory. Lucy is confused: how could she forget about all this?!

Thanks to these lines, we can conclude what was written about earlier: urban, often hectic and short-lived. Rustic - tied to the earth. It is eternal, because in this lies the knowledge of life. It cannot be fully understood, it can only be approached.

On the opposition of the characters of mother and daughter, the stories "Pelageya" and "Alka" by F. Abramov are kept.

Pelageya is a strong, life-hungry nature. And yet 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 Pelagia'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 the selfishness. For the time being, everything results in the satisfaction of elementary human desires - the breadth of life, enjoyment of life, etc.

“On September 3, 1969, V. Bulkin wrote from Nizhny Tagil: “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 was no such book yet ..". Readers put "Pelageya" on a par with Russian women created in Russian and Soviet literature, compared her with the heroine of the story "Matrenin Dvor" by Solzhenitsyn, with Daria from V. Rasputin's story "Deadline" . Drains internally, not externally. She, like other heroines described by "villagers", draws strength, relieves fatigue, in 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, impoverished, post-war years. By the will of fate, Pelageya had to go in the collective farm "herd". But she did not 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 - are solved. She rebels against her mother and violates external asceticism. V. Shukshin, as if with strokes, - picturesquely, wrote his works. More and more - dialogues, colors, details.

The motif of rural prose.

The focus of the “village” writers was the post-war village, impoverished and disenfranchised (until the beginning of the 60s, collective farmers did not even have their own passports and could not leave without special permission

"places of origin"). The writers themselves were mostly from the countryside. The essence of this direction was the revival of traditional morality. It was in line with the "village prose" that such great artists as Vasily Belov, Valentin Rasputin, Vasily Shukshin, Viktor Astafyev, Fedor Abramov, Boris Mozhaev developed. They are close to the culture of classical Russian prose, they restore the traditions of fairy tale speech, develop what was done by the “peasant literature” of the 1920s.

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

"Rural Prose" gave a picture of the life of the Russian peasantry in the 20th century, reflecting the main events that influenced its fate: the October Revolution and the civil war, war communism and the New Economic Policy, collectivization and famine, collective farm construction and industrialization, military and post-war hardships, all kinds of experiments on rural economy and its current degradation. She continued the tradition of revealing the Russian character, created a number of types of "ordinary people".

Victor Astafiev summed up the bitter result of the “village prose”: “We sang the last cry - about fifteen people were found mourners about the former village. We sang it at the same time. As they say, we cried well, at a decent level, worthy of our history, our village, our peasantry. But it's over. Now there are only pathetic imitations of books that were created 20-30 years ago. Imitate those naive people who write about the already extinct village. Literature must now break through the asphalt.”

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

After the life of the Russian village in Stalin's time was shown at first very rarely, and later - in a distorted form, and the forcible unification of peasants into collective farms was especially idealized (M. Sholokhov) and the truth about the post-war restoration period was distorted (S. Babaevsky), - in In 1952, starting with the works of V. Ovechkin, documentary prose appeared, telling about the damage to state agriculture caused by centralized instructions from above, coming from incompetent people. Under Khrushchev, who, being at the head of the party and the state, tried to improve the situation of agriculture, this accusatory literature, focused on 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 a person by state mismanagement.

After A. Solzhenitsyn in the story "Matryona Dvor" (1963) spoke about those imperishable human and, first of all, religious and Christian values ​​​​that are preserved in the modern Central Russian village with all its misery, Russian village prose reached a great rise and during of the following decades gave rise to numerous works that can rightfully be considered the best in Russian literature of this period. F. Abramov in a cycle of novels draws in detail village life in the Arkhangelsk region; V. Belov notes the positive features of the peasant community before the introduction of collectivization in the rich traditions of the Vologda region; S. Zalygin denounces the destruction of rural traditions in Siberia; V. Shukshin brings out eccentric peasants in his stories, showing them in contrast with the 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. Druta (Moldova), F. Iskander (Abkhazia), V. Krupin, S. Krutilin, V. Lipatov, V. Likhonosov, V. Lichutin, B. Mozhaev, E. Nosov, V. Semin, G. Troepolsky, V. Rasputin, who convincingly defends religious and universal norms and traditions in his novels about the life of the Siberian village, has reached the highest national and international recognition.

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

The concept of "village" prose appeared in the early 60s. This is one of the most fruitful trends in our domestic literature. It is represented by many original works: "Vladimir country roads" and "A drop of dew" by Vladimir Soloukhin, "The usual business" and "Carpenter's stories" by Vasily Belov, "Matrenin yard" by Alexander Solzhenitsyn, "Last bow" by Viktor 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 himself the very words that the poet Alexander Yashin wrote in the story “I treat the mountain ash”: “I am the son of a peasant ... Everything that is done on this land concerns me, on which I am not alone knocked out the path with bare heels; on the fields that he still plowed with a plow, on the stubble that he went with a scythe and where he threw hay into stacks.

“I am proud that I left the village,” said F. Abramov. V. Rasputin echoed him: “I grew up in the countryside. She fed me, and it is my duty to tell about her.” Answering the question why he writes mainly about village people, V. Shukshin said: “I could not talk about anything, knowing the village ... I was brave here, I was as independent as possible here.” S. Zalygin wrote in his “Interview with Myself”: “I feel the roots of my nation right there - in the village, in the arable land, in the most daily bread. Apparently, our generation is the last one that saw with its own eyes that thousand-year way of life, from which we emerged almost all and everyone. If we do not tell about it and its decisive reworking within a short time - who will say?

Not only the memory of the heart nourished the theme of "small motherland", "sweet motherland", but also pain for its present, anxiety for its future. Exploring the reasons for the sharp and problematic conversation about the village, which was conducted by literature in the 60-70s, F. Abramov wrote: “The village is the depths of Russia, the soil on which our culture has grown and flourished. At the same time, the scientific and technological revolution in which we live has touched the countryside very thoroughly. Technique has changed not only the type of management, but also the very type of the peasant ... Together with the old way of life, the moral type disappears 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 of peasant dwellings that have evolved over the centuries are disappearing... Serious losses are borne by the language. The village has always spoken a richer language than the city, now this freshness is being leached out, eroded…”

The village presented itself to Shukshin, Rasputin, Belov, Astafiev, Abramov as the embodiment of the traditions of folk life - moral, everyday, aesthetic. In their books, there is a need to take a look at everything connected with these traditions and what broke them.

"The usual thing" - this is the name of one of the stories of V. Belov. These words can define the inner theme of many works about the countryside: life as work, life in work is a common thing. Writers draw the traditional rhythms of peasant work, family worries and anxieties, weekdays and holidays. There are many lyrical landscapes in the books. So, in B. Mozhaev's novel "Men and Women" the description of "unique in the world, fabulous flood meadows near the Oka", with their "free forbs" attracts attention: "Andrei Ivanovich loved the meadows. Where else in the world is there such a gift from God? So as not to plow and sow, and the time will come - to leave with the whole world, as if on a holiday, into these soft manes and in front of each other, playfully scythe, alone in a week to wind windy hay for the whole winter for cattle ... Twenty-five! Thirty carts! If the grace of God was sent down to the Russian peasant, then here it is, here, spreading out in front of him, in all directions - you can’t cover it with an eye.

In the protagonist of the novel by B. Mozhaev, the most intimate is revealed, what the writer associated with the concept of "the call of the earth." Through the poetry of peasant labor, he shows the natural course of a healthy life, comprehends the harmony of the inner world of a person who lives in harmony with nature, rejoicing in its beauty.
Here is another similar sketch - from F. Abramov's novel “Two Winters and Three Summers”: “... Mentally talking with the children, guessing by the tracks, how they walked, where they stopped, Anna did not notice how she came out to Sinelga. And here it is, her holiday, her day, here it is, the joy of suffering: the Pryaslin brigade is on the reaping! Mikhail, Lisa, Peter, Grigory ... She got used to Mikhail - from the age of fourteen she mows for a peasant and now there are no mowers equal to him in all Pekashin. And Lizka is also swathing - you will envy. Not in her, not in her mother, in grandmother Matryona, they say, with a trick. But small, small! Both with scythes, both hitting the grass with their scythes, both of them have grass lying under their scythes ... Lord, did she ever think that she would see such a miracle!

Writers subtly feel 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 pleasant. Talent and work are inseparable. And one more thing: “For the soul, for memory, it was necessary to build a house with carvings, or a temple on a mountain, or weave such lace that would take the breath away and light up the eyes of a distant great-great-granddaughter. Because a person does not live by bread alone.”
This truth is confessed by the best heroes of 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 (“Eve” by V. Belov, “Men and Women” by B. Mozhaev), then during the war years (“Brothers and Sisters” by F. Abramov), during the years post-war hard times (“Two Winters and Three Summers” by F. Abramov, “Matryona Dvor” by A. Solzhenitsyn, “A Usual Business” by V. Belov).

The writers showed the imperfection, disorder of the everyday life of the heroes, the injustice done to them, their complete defenselessness, which could not but lead to the extinction of the Russian village. “Here neither subtract nor add. So it was on earth,” A. Tvardovsky will say about this. The “information for reflection” contained in the “Supplement” to Nezavisimaya Gazeta (1998, No. 7) is eloquent: “In Timonikh, the native village of the writer Vasily Belov, the last peasant Faust Stepanovich Tsvetkov died. Not a single man, not a single horse. Three old women.
And a little earlier, Novy Mir (1996, No. 6) published Boris Ekimov’s bitter, heavy reflection “At the Crossroads” with terrible forecasts: “The impoverished collective farms are already eating away tomorrow and the day after tomorrow, dooming those who will live on this day to even greater poverty. land after them... The degradation of the peasant is worse than the degradation of the soil. And she is there."
Such phenomena made it possible to talk about "Russia, which we have 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 motive of “farewell”, “last bow”, reflected in the titles of the works (“Farewell to Matera”, “Deadline” by V. Rasputin, “Last bow” by V. Astafiev, “Last suffering”, “The last old man of the village » F. Abramov), and in the main plot situations of the works, and forebodings of the characters. F. Abramov often said that Russia was saying goodbye to the countryside as if it were a mother.
In Russian literature, the genre of rural prose differs markedly from all other genres. What is the reason for this difference? One can talk about this for an exceptionally long time, but still not come to a final conclusion. This is because the scope of this genre may not fit within the description of rural life. Works that describe the relationship between the people of the city and the village, and even works in which the main character is not a villager at all, but in spirit and idea, these works are nothing more than village prose, can also fit under this genre.
There are very few works of this type in foreign literature. There are many more of them in our country. This situation is explained not only by the peculiarities of the formation of states, regions, their national and economic specifics, but also by the character, “portrait” of each people inhabiting a given area. In the countries of Western Europe, the peasantry played an insignificant role, and all the people's life was in full swing in the cities. In Russia, since ancient times, the peasantry has occupied the most important role in history. Not by the strength of power (on the contrary - the peasants were the most disenfranchised), but in spirit - the peasantry was and probably still remains the driving force of Russian history. It was from the dark, ignorant peasants that Stenka Razin, and Emelyan Pugachev, and Ivan Bolotnikov came out, it was because of the peasants, more precisely because of serfdom, that cruel struggle took place, the victims of which were both tsars, and poets, and part of the outstanding Russian intelligentsia of the 19th century. Due to this, works covering this topic occupy a special place in the literature.
Contemporary rural prose plays a large role in the literary process today. This genre today rightfully occupies one of the leading places in terms of readability and popularity. The modern reader is concerned about the problems that are raised in the novels of this genre. These are questions of morality, love for nature, a good, kind attitude towards people and other problems that are so relevant today. Among the writers of our time who wrote or are writing in the genre of village prose, the leading place is occupied by such writers as Viktor Petrovich Astafiev (“The Tsar-Fish”, “The Shepherd and the Shepherdess”), Valentin Grigorievich Rasputin (“Live and Remember”, “Farewell to Mother ”), Vasily Makarovich Shukshin (“Villagers”, “Lubavins”, “I came to give you freedom”) and others.

Vasily Makarovich Shukshin occupies a special place in this series. His original work attracted and will attract hundreds of thousands of readers not only in our country, but also abroad. After all, one can rarely meet such a master of the folk word, such a sincere admirer of his native land, as this outstanding writer was.
Vasily Makarovich Shukshin was born in 1929 in the village of Srostki, Altai Territory. And through the whole life of the future writer, the beauty and severity of those places ran like a red thread. It was thanks to his small homeland that Shukshin learned to appreciate the land, the labor of a person on this earth, learned to understand the harsh prose of rural life. From the very beginning of his creative path, he discovered new ways in the image of a person. His heroes turned out to be unusual in terms of their social status, life maturity, and moral experience. Having already become a fully mature young man, Shukshin goes to the center of Russia. In 1958, he made his film debut (“Two Fedors”), as well as in literature (“A Story in a Cart”). In 1963, Shukshin released his first collection, “Village Residents”. And in 1964, his film “Such a Guy Lives” was awarded the main prize at the Venice Film Festival. Shukshin comes to worldwide fame. But he doesn't stop there. Years of hard and painstaking work follow. For example: in 1965, his novel “Lubavins” was published and at the same time the film “Such a guy lives” appears on the screens of the country. Only by this example alone can one judge with what dedication and intensity the artist worked.
Or maybe it's haste, impatience? Or the desire to immediately establish oneself in literature on the most solid - "novel" basis? Certainly it is not. Shukshin wrote only two novels. And as Vasily Makarovich himself said, he was interested in one topic: the fate of the Russian peasantry. Shukshin managed to touch a nerve, break into our souls and make us ask in shock: “What is happening to us”? Shukshin did not spare himself, he was in a hurry to have time to tell the truth, and to bring people together with this truth. He was obsessed with one thought that he wanted to think out loud. And be understood! All the efforts of Shukshin - the creator were directed towards this. He believed: “Art is, so to speak, to be understood ...” From the first steps in art, Shukshin explained, argued, proved and suffered when he was not understood. He is told that the film “There Lives Such a Guy” is a comedy. He is perplexed and writes an afterword to the film. At a meeting with young scientists, a tricky question is thrown at him, he puts it off, and then sits down to write an article (“Monologue on the Stairs”).

The concept of "village" prose appeared in the early 60s. This is one of the most fruitful trends in our domestic literature. It is represented by many original works: "Vladimir country roads" and "A drop of dew" by Vladimir Soloukhin, "The usual business" and "Carpenter's stories" by Vasily Belov, "Matrenin yard" by Alexander Solzhenitsyn, "Last bow" by Viktor 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 himself the very words that the poet Alexander Yashin wrote in the story “I Treat Rowan”: “I am the son of a peasant. Everything that is done on this land, on which I am not one path, concerns me. knocked out with bare heels; on the fields that he still plowed with a plow, on the stubble that he went with a scythe and where he threw hay into stacks. “I am proud that I left the village,” said F. Abramov. He was followed by V.

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

Zalygin in his “Interview with myself” wrote: “I feel the roots of my nation right there - in the village, in the arable land, in the most daily bread. Apparently, our generation is the last one that saw with its own eyes that thousand-year way of life, from which we emerged almost all and everyone. If we do not tell about it and its decisive reworking within a short time - who will say? Not only the memory of the heart nourished the theme of "small motherland", "sweet motherland", but also pain for its present, anxiety for its future. Exploring the reasons for the sharp and problematic conversation about the village, which was conducted by literature in the 60-70s, F. Abramov wrote: “The village is the depths of Russia, the soil on which our culture has grown and flourished.

At the same time, the scientific and technological revolution in which we live has touched the countryside very thoroughly. Technique has changed not only the type of management, but also the very type of the peasant. Along with the old way of life, the moral type disappears 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 of peasant dwellings that have evolved over the centuries are disappearing. Serious losses are borne by the language.

The village has always spoken a richer language than the city, now this freshness is being leached out, eroded.” In their books, there is a need to take a look at everything connected with these traditions and what broke them. “The usual thing” - this is the name of one of the stories of V.

Belova. These words can define the inner theme of many works about the countryside: life as work, life in work is a common thing. Writers draw the traditional rhythms of peasant work, family worries and anxieties, weekdays and holidays. There are many lyrical landscapes in the books. So, in B.

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

If the grace of God was sent down to the Russian peasant, then here it is, here, spreading out in front of him, in all directions - you can’t cover it with an eye. In the protagonist of the novel by B. Mozhaev, the most intimate is revealed, what the writer associated with the concept of "the call of the earth."

Through the poetry of peasant labor, he shows the natural course of a healthy life, comprehends the harmony of the inner world of a person who lives in harmony with nature, rejoicing in its beauty. Here is another similar sketch - from F. Abramov's novel “Two Winters and Three Summers”: “Mentally talking with the children, guessing by the tracks, how they walked, where they stopped, Anna did not notice how she went out to Sinelga. And here it is, her holiday, her day, here it is, the joy of suffering: the Pryaslin brigade is on the reaping! Mikhail, Liza, Peter, Grigory She got used to Mikhail - from the age of fourteen she mows for a peasant and now there are no mowers equal to him in all Pekashin. And Lizka is also swathing - you will envy.

Not in her, not in her mother, in grandmother Matryona, they say, with a trick. But small, small! Both with scythes, both hitting the grass with their scythes, both of them have grass under their scythes. Lord, did she ever think that she would see such a miracle! Writers subtly feel the deep culture of the people. Reflecting on his spiritual experience, V.

Belov emphasizes in the book “Lad”: “It is not only easier to work beautifully, but also more pleasant. Talent and work are inseparable. And one more thing: “For the soul, for memory, it was necessary to build a house with carvings, or a temple on the mountain, or 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 confessed by the best heroes of 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 (“Eve” by V. Belov, “Men and Women” by B. Mozhaev), then during the war years (“Brothers and Sisters” by F.

Abramov), during the years of post-war hard times (“Two Winters and Three Summers” by F. Abramov, “Matryona Dvor” by A. Solzhenitsyn, “A Usual Business” by V.

Belova). The writers showed the imperfection, disorder of the everyday life of the heroes, the injustice done to them, their complete defenselessness, which could not but lead to the extinction of the Russian village. “Here neither subtract nor add. So it was on earth,” A.

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

And she is there." Such phenomena made it possible to talk about "Russia, which we have 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 motive of “farewell”, “last bow”, reflected in the titles of the works (“Farewell to Matera”, “Deadline” by V.

Rasputin, "The Last Bow" by V. Astafiev, "The Last Suffering", "The Last Old Man of the Village" by F.

Abramov), and in the main plot situations of the works, and forebodings of the characters. F.

Abramov often said that Russia was saying goodbye to the countryside like a mother. In order to highlight the moral issues of the works of "village" prose, we will put the following questions to the eleventh graders: - What are the pages of novels and short stories by F. Abramov, V. Rasputin, V.

Astafieva, B. Mozhaeva, V. Belova written with love, sadness and anger? - Why did the person of the "hard-working soul" become the first-planned hero of the "village" prose?

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

Village prose began in the 1950s with the stories of Valentin Ovechkin, who in his works managed to tell the truth about the state of the post-war village and dispel the distorted concept of it. Gradually, a school of writers developed who adhered to one direction in their work: to write about the Russian village. The term "village prose" was discussed for a long time, questioned, but eventually entrenched, designating the theme and artistic and stylistic phenomenon in Russian literature of the second half of the 20th century.

In his most famous work, District Weekdays, V. Ovechkin denounced “window dressing”, postscripts in reports, and the indifference of chiefs to the needs of the village. The piece sounded sharp and topical. Following Ovechkin, the theme of the village was developed by V. Tendryakov, S. Voronin, S. Antonov, A. Yashin and others.

Village prose includes a variety of genres: notes, essays, stories, novels and novels. Expanding the problematics, the authors introduced new aspects into their works. We talked about history, culture, sociological and moral issues. The books “Lad”, “Carpenter's stories”, “Eve” by V. Belov, “Wooden horses”, “Pelageya”, “Fatherlessness”, “Brothers and sisters” by F. Abramov, “Men and women” by B. Mozhaev, "Matrenin Dvor" by A. Solzhenitsyn.

A great contribution to the development of rural prose was made by V. Astafiev and V. Rasputin, who raised the problem of ecology, the preservation of traditions, and care for a home on Earth in their works.

Valentin Grigoryevich Rasputin during his lifetime became a classic of Russian literature. A Siberian by birth, a man with a strong-willed character, he experienced a lot in his lifetime. The novels “Money for Mary” and “Deadline” brought fame to the author, which told about the difficult life of people in the Siberian village. Gradually, the genre of a philosophical story begins to dominate in his work.

Comprehension of moral and philosophical issues is the meaning of the story "Farewell to Matera". It is no longer about individual people, but about the fate of the whole village. In this work, Rasputin reflects on the problems of man and nature, culture and ecology, the meaning of human life and the continuity of generations.

Matera is an island in the middle of the Angara and a village on it. In the story, Rasputin, using the technique of allegory, folklore and mythological motifs, creates the image of Matera - a symbol of people's Russia and its history. The root of the word “matyora” is mother, “hardened” means “mature”, “experienced”, and in Siberia, the central, strongest current on the river is also called matyora.

Far away, in the capital, officials decided to build a reservoir for the needs of the national economy. No one thought that the village would be at the bottom of an artificial reservoir after the construction of the dam. Describing the fate of the ancient village, the writer creates a complex socio-philosophical image that echoes the problems of our time.

Only a few old people remained in the village, the youth went to live in the city. Rasputin talentedly creates images of village old women. The old woman Anna has a complaisant, quiet, "icon-painting" character. Daria is an energetic woman. She is full of anger at the city bureaucrats, ready to defend her small homeland to the last breath. Daria laments the indifference of young people to the land of their ancestors. But there is nowhere to study and work in the village, so the children leave for the big world.

Rasputin explores the deepest layers of the human soul and memory. To the surprise of people who once dreamed of leaving for a city, a village, their native roots do not disappear, moreover, they become a support for existence. Native land gives strength to its children. Pavel, the son of the old woman Darya, having arrived on the island, is amazed at how readily time closes after him: as if there was no ... village ... as if he never left Matera anywhere. He sailed - and the invisible door slammed shut behind him.

The author, together with his characters, thinks hard about what is happening on earth. The old people have nowhere to go from the island. They do not have long to live, here are their fields, forests, graves of relatives in the cemetery, which, by order of the authorities, they are trying to level with a bulldozer. Local residents do not want to move to the city, they cannot imagine life in a communal house.

The writer defends the right of people to live according to the ancient laws of peasant life. The city is advancing on the village, like an enemy, destroying it. With a feeling of hopelessness and grief, Daria says: “She, your life, look at what taxes she takes: Give her mother, she is starving.” City life in the mind of the heroine turns into a terrible monster, cruel and soulless.

The scene of the destruction of the cemetery shocks the sacrilege of the city dwellers. Both the living and the dead are powerless against an order, a resolution, a dead paper document. The wise old woman Daria cannot stand it and, "choking with fear and rage", screams and rushes at the workers who are about to burn the crosses and fences of the graves. The writer draws attention to another attitude to the problem. Darya's grandson Andrey is going to work on the dam after the flooding of the village, while Petruha himself sets fire to his house to get money for it.

The writer shows how people are confused, divided, quarreled on this earth. In the story, he creates the image of the Master of the island, a good spirit that appears at night, because people are no longer masters on their land. In live dialogues with neighbors, son, grandson, Daria tries to find out “the truth about a person: why does he live?”.

Faith in the inviolability of the laws of life lives in the minds of the heroes of the story. According to the author, "even death sows a generous and useful harvest in the souls of the living." “Farewell to Matera” is a warning story. You can burn and flood everything around, become strangers on your own land. Rasputin raises the most important problems of nature conservation, the preservation of accumulated wealth, including moral ones, such as a sacred feeling for the Motherland. He protests against the thoughtless attitude towards the country and its people. A caring man, a true citizen, Rasputin actively fought against the project of "turning the Siberian rivers" in the 1980s, which threatened to disrupt the entire ecological system of Siberia. Many journalistic articles were written by him in defense of the purity of Lake Baikal.

Vasily Shukshin entered literature as the author of rural prose. For fifteen years of literary activity, he published 125 stories. The first story "Two on a Cart" was published in 1958. In the collection of short stories "Villagers", the writer included the cycle "They are from the Katun", in which he spoke with love about his fellow countrymen and his native land.

The writer's works differed from what Belov, Rasputin, Astafiev, Nosov wrote within the framework of rural prose. Shukshin did not admire nature, did not go into 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.

Shukshin's heroes are simple villagers, representing the modern type of "little man" who, despite revolutions, has not disappeared since the times of Gogol, Pushkin and Dostoevsky. But in Shukshin, the village peasants do not want to obey the false values ​​invented in the city, they instantly feel falseness, do not want to pretend, remain themselves. In all the stories of the writer, there is a clash between the false morality of the opportunism of urban residents and the direct, honest attitude to the world of village residents. The author draws two different worlds.

The hero of the story "Crank" village mechanic Vasily Knyazev is thirty-nine years old. Shukshin surprisingly knew how to start his stories. It immediately puts the reader in the course of action. This story begins like this: “The wife called him - Freak. Sometimes kindly. The weirdo had one feature: something constantly happened to him. The author immediately notes the dissimilarity of the hero to ordinary people. The weirdo was going to visit his brother and dropped the money in the store, but did not immediately realize that this bill belongs to him, and when he realized, he could not bring himself to pick it up.

Further, the author shows us Chudik in his brother's family. The daughter-in-law, who works as a barmaid in the department, considers herself a city dweller and treats everything village with contempt, including Chudik. The hero - a kind, sincere, simple-hearted person - does not understand why the daughter-in-law is so hostile to him. Wanting to please her, he painted the carriage of his little nephew. For this, Chudik was expelled from his brother's house. The author writes: “When he was hated, he was very hurt. And scary. It seemed: well, now everything, why live? So, with the help of replicas, details, the author conveys the character of the hero. The return of the Freak home the writer draws as real happiness. He takes off his shoes and runs through the rain-drenched grass. Native nature helps the hero to calm down after visiting the city and his "urban" relatives.

Shukshin is sure that such seemingly worthless people give joy and meaning to life. The writer calls his freaks talented and beautiful souls. Their life is purer, more soulful and meaningful than the lives of those who laugh at them. Remembering his relatives, Chudik sincerely wonders why they became so evil. Shukshin's heroes live with heart and soul, their actions and motives are far from logic. At the end of the story, the author once again surprises the readers. It turns out that Chudik “adored detectives and dogs. As a child, I dreamed of becoming a spy. material from the site

The story "Villagers" tells about the life of the people of the Siberian village. The family receives a letter from their son, who invites them to visit Moscow. For grandmother Malanya, grandson Shurka and their neighbor Lizunov, going to Moscow is almost like flying to Mars. The heroes discuss for a long time and in detail how to go, what to take with them. Their characters and touching innocence are revealed in the dialogues. In almost all stories, Shukshin leaves an open ending. Readers themselves have to figure out what happened to the characters next, draw conclusions.

The writer was primarily interested in the characters of the characters. He wanted to show that in ordinary life, when nothing remarkable seems to happen, there is a great meaning, a feat of life itself. The story "Grinka Malyugin" tells how the young driver Grinka accomplishes a feat. He drives the burning truck into the river so the barrels of gasoline don't explode. The injured guy is taken to the hospital. When a correspondent comes to him to ask about what happened, Grinka is embarrassed by loud words about heroism, duty, saving people. The writer's story is about the highest, holy in the human soul. Later, based on this story by Shukshin, the film “Such a guy lives” was shot.

A distinctive feature of Shukshin's creative personality is the richness of lively, bright, colloquial speech with its various shades. His characters are often fierce debaters, they like to insert proverbs and sayings, "scientific" expressions, slang words into their speech, and sometimes they can swear. Interjections, exclamations, rhetorical questions are often found in the texts, which makes the works emotional.

Vasily Shukshin considered the urgent problem of the Russian village from the inside, through the eyes of its indigenous inhabitants, expressed concern about the outflow of young people from the village. The writer thoroughly knew the problems of the villagers and managed to voice them throughout the country. He created a gallery of Russian types, introduced new features into the concept of the Russian national character.

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On this page, material on the topics:

• Rasputin village prose
• country prose writers
• r.r. "life of the Russian village in the last century" -plan
• literary newspaper about swearing in Russian prose
• village in literature