Village in works of Russian literature. The theme of city and village in works of Russian literature

Lecture, abstract. The fate of the Russian village in literature 1950-80. - concept and types. Classification, essence and features.

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The theme of city and village became especially relevant in Russian literature of the 20th century, when the era of industrialization began to absorb the village: village culture, worldview. The villages began to empty, young residents sought to move to the city, “closer to civilization.” This state of affairs greatly worried many Russian writers who had roots in the village. After all, it was in the village way of thinking and feeling that they saw the foundations of true morality, purity, simplicity of life, and indigenous wisdom. In the post-revolutionary works of S. Yesenin, the problem of city and countryside resounds loudly. The poet loves his native fields “in his sorrow”; he proclaims peace to the “rakes, scythes and plows” and wants to believe in better share peasantry. But his mood is pessimistic.

In the poem "I the last poet villages,” he predicts the imminent death of the village, an attack on its civilization in the form of an “iron guest.” In the poem “Sorokoust” Yesenin compares two worlds, presented in the form of a cast-iron train (city) and a red-maned foal (village). The foal strives to overtake the train, but this is impossible: the forces are unequal. The poet sadly notes that the times have come when “steel cavalry defeated living horses...” This was reflected not only in the way of life, but, what is much more serious, in the way of thought, in ideas about morality and morality. By another singer village life became V.

I. Belov. He entered literature at the very beginning of the 60s of the 20th century.

The village people of V. Belov are stingy with words and expressions of feelings, sometimes rude, as they grew up in the difficult world of a distant northern village. It is no coincidence that Grandma Evstolya tells tales about Poshekhontsy, unfortunate men - bunglers. The main character of his story “A Business as Usual” is akin to these Poshekhons. It is said about him: “A Russian person is smart with hindsight, sometimes he is simple-minded, gets into trouble,” and that is why his fellow villagers and the author himself laugh so good-naturedly at him. Belov is not addressing the ideal person, but to the most common one, which has both positive and negative traits character. The writer claims that it is the village people who are the basis of morality, purity and simplicity, the basis of the nation.

V. Rasputin in “Matryonin’s Dvor” also addresses the theme of the village and the city. For the writer, the concept of a village is akin to the concepts of “land”, “homeland”, “memory” and “love”. Residents of Matera, guardians of traditions and the foundations of life, cannot imagine their lives without places familiar from childhood. They are not attracted to the improvement of the city; for them, existence outside their native island is meaningless, and even impossible. Young people think differently.

They break away from their native roots, move to the city, forget not only their ancestors, but also their native land, turn into people of memory and without a homeland. The writer sees a very alarming trend in this. Thus, rural life, on the one hand, is idealized by writers, presented in all its naturalness and truth, on the other, rural life is contrasted with urban life as largely immoral, immoral, divorced from its roots and the commandments of its ancestors. At the same time, writers note that the city is winning over the village, people are trying to leave, villages are turning into abandoned deserts. This is an alarming trend, because the village is the basis of the nation, culture and worldview of the Russian people.

New look Russian village and peasant soul- page No. 1/1

Lesson topic: A NEW IMAGE OF THE RUSSIAN VILLAGE AND THE PEASANT SOUL

IN LITERATURE OF THE SECOND HALF OF THE 20TH CENTURY

Lesson objectives:

• 
  promote development personal qualities of students:

• 
  on ideas of continuity, historical memory, loyalty to the traditions underlying morality, which “village” writers preach in their works;
• 
  dwelling on questions about the restructuring of human life caused by mass migration from the village to the city;
• 
  getting acquainted with the thoughts of writers about the correlation between personal and collective consciousness;
• 
  studying the language of the heroes of “village prose”, whose existence stands to protect Russian speech from its distortion and contamination;
• 
  on issues of the relationship between man and nature, disturbing prose writers who are aware of the danger of a consumer attitude towards nature and warn about the harmfulness of the desire to arbitrarily transform it, without caring about the future.

Lesson equipment:

Epigraph for the lesson:

“At the turn of the 70s and in the 70s. in Soviet literature there was a silent revolution that was not immediately noticed, without a rebellion, without a shadow of a dissident challenge. Without overthrowing or blowing up anything declaratively, large group writers began to write as if no “socialist realism” had been announced and dictated - neutralizing it silently, she began to write in simplicity, without any pandering, incense to the Soviet regime, as if forgetting about it. To a large extent, the material of these writers was village life, and they themselves came from the village, therefore (and partly because of the condescending complacency of the cultural circle, and not without envy of the suddenly successful purity of the new movement) this group began to be called villagers. It would be correct to call them moralists, because the essence of their literary revolution was the revival of traditional morality, and the crushed, dying village was only a natural visual object»

Solzhenitsyn A. (Word at the presentation of the Solzhenitsyn Prize

Valentin Rasputin 4.05.2000 // New world. 2000. No. 5. P. 186).

During the classes

I. Goal setting ( staging educational task based on the correlation of what is already known and learned by the student and what is still unknown). 1 min.

What goals did you set when preparing for today’s lesson and going to it?

-In previous Russian literature lessons we talked about the theme of the Great Patriotic War in the literature of the 60-80s, about the poetry of the second half of the 20th century and learned by heart the poems of poets of this period. Therefore, we will continue our acquaintance with the literature of this period.

- As a leading homework we were recommended to read the works of certain writers, even some of the titles of the works were given. Based on this, I think today we will talk about works about the village.

- We talked about works on rural themes earlier. But this was the literature of the 20s and 30s. And today we will talk about “village” works of the 2nd half of the 20th century.

- Since we are returning to this topic again, it means that there is a difference between the literature about the village of the 1st half of the century and the 2nd half. This is probably what we will find out today.

- While preparing for today’s lesson, while reading literature, we came across the term “ village prose" It is about the features of this prose that we will talk today.

The teacher announces the topic of the lesson,students write in their notebooks.

II. Planning(determination of the sequence of intermediate goals, taking into account final result; drawing up a plan and sequence of actions). 1 min.

How do you propose to answer the question: what is new about the depiction of the village and peasant soul by writers of the 2nd half of the 20th century?

- Let us recall the main features of works about the village of the period preceding the “village-

Russian prose" of the 60-80s of the 20th century. I prepared a short message on this topic, and the day before

we have set this out in tabular form to outline the points on which we can

compare the products of two periods.

- First, we probably need to talk about the phenomenon in our literature, which is called

"village prose". I can talk about it.

- It was not for nothing that we read the works and filled out the 2nd and 3rd columns of the table at home. Need to

agree on who will talk about what.

- I have read …. And I can tell you about...

- And just like that, by the end of the lesson we should come to a common opinion on how we depicted in a new way

village and rural inhabitants of prose fiction of the 2nd half of the 20th century.

- The concept of “Russian literature” needs to be understood more broadly – ​​“ Russian literature", and remember

Bashkir and Tatar writers, who also wrote about the village, and remember what

they posed problems in their works.

- We're just in class. Tatar literature We study similar works: (list).

1 min.

III. Forecasting(anticipation of the result, level of assimilation, its time characteristics)

What result do you think we will achieve? To what extent can we solve the problem?

- There is little time. Therefore, we probably won’t have time to do much. The main thing is to determine what is new

literature of the 60-80s of the 20th century about the village.

- Yes, there is little time. That's why we didn't read novels or stories - only summary. But

read some stories. But we won’t have time to talk about them in detail. Therefore, according to

Let's just go through the points. The main thing is that we still read something and an idea of

received village prose. In class, you need to come to a common opinion.

- Reading these stories, we understood the attitude of the writers to the village, to nature, to the history of Russia, to rural residents, we encountered warm descriptions of nature and phenomena rural life, their heroes and felt pain and anxiety for the future of the village. I think that these feelings will awaken in us today.

Teacher: Thus, we have set goals and outlined guidelines. Now go ahead to complete your plans!

IV. Research and design of the problem being studied(The discovery of new knowledge that occurs in the course of solving a problem). 2 minutes.

1. A student’s abstract message on the topic "Village Prose"(Video and song by Olga Voronets)

The concept of “village” prose appeared in the early 60s. This is one of the most fruitful directions in our domestic literature. It is represented by many original works: “Vladimir Country Roads” and “A Drop of Dew” by Vladimir Soloukhin, “A Habitual Business” and “Carpenter’s Stories” by Vasily Belov, “Matrenin’s Dvor” by Alexander Solzhenitsyn, “ Last bow» by Victor Astafiev, stories by Vasily Shukshin, Evgeny Nosov, stories by Valentin Rasputin and Vladimir Tendryakov, novels by Fyodor Abramov and Boris Mozhaev. The sons of peasants came to literature, each of them could say about themselves the very words that the poet Alexander Yashin wrote in the story “I Treat You to Rowan”: “I am the son of a peasant... Everything that happens on this land, on which I am not alone, concerns me he knocked out the path with his bare heels; in the fields that he still plowed with a plow, in the stubble that he walked with a scythe and where he threw hay into stacks.”

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

2. Project protection "Redneck Writers" (Portraits of writers on the map of Russia)

+ electronic variant 5 minutes.

Belov Vasily Ivanovich (born in 1932) village of Timonikha, Kharovsky district, Vologda region in

peasant family, father died in the war

Kazakov Yuri Pavlovich (1927 - 1982) Moscow, in a working-class family

Alekseev Mikhail (1918 -) p. Monastyrskoye, Saratov region, in a peasant family

Mozhaev Boris (1923 - 1996) Ryazan region

Abramov Fedor Alexandrovich (1920 - 1983) p. Verkola Arkhangelsk region in the peasant

Astafiev Viktor Petrovich (1924 -) p. Oatmeal Krasnoyarsk Territory in a peasant family, without a father

Shukshin Vasily Makarovich (1929 - 1974) village of Srostki, Biysk region Altai Territory, without father

Tendryakov Vladimir (1923 - 1984) village of Makarovskaya, Verkhovazhsky district, Vologda region in

family of a rural employee

3. A student's abstract about village prose before the 60s (in front of students -

table, with the 1st column pre-filled based on the materials of this abstract)3 min.

4. Research “A new image of the Russian village and the peasant soul in “village prose””

60-80s of the 20th century. 27 min.

a) a massive outflow of the rural population to the city (historical information from the student, Y. Kazakov “On

stop")

b) when discussing the heroes of works

+ examples and h Tatar and Bashkir literature

+ stories about collective farmers-workers from your village (collective farm)(photos - computer)

+ stills from the film “Kalina Krasnaya”

c) during discussion tragic fate villages + student’s message about government policy

d) when discussing the language of prose + expressive reading and analysis(individual tasks and

work in pairs) : 1) monologue from “Farewell to Matera” by V. Rasputin

2) V. Astafiev. "Zorka's song"

e) when discussing the ideals of peasants: + 1) student’s message “The main elements of ideals

"village prose"

+2) Astafiev. "Last bow" - expressive reading of passages about At home, well, at work.

V. Control(in the form of comparing the method of action and its result with a given standard in order to detect deviations and differences from the standard);

Testing: find and establish correspondences between the listed works and the specified themes of the works of “village prose”

1. V. Belov “Eves” (1 and 2 books), “The Year of the Great Turnaround”; "Carpenter's Stories"

S. Zalygin “On the Irtysh”;

B. Mozhaev “Men and Women”; "Alive"

V. Tendryakov “A pair of bays”;

F. Abramov “A trip to the past”

1. 
   F. Abramov “Pryasliny” (1-3 books);

V. Rasputin “Live and Remember”; "Vasily and Vasilisa"

A.Genatullin. "Shamsutdin and Shamsura"

V. Astafiev “Last bow”;

V. Belov “Carpenter’s Stories”

1. 
   V. Belov “Business as usual”; "Horses"

B. Mozhaev “From the life of Fyodor Kuzkin”;

V. Astafiev “Tsar Fish”;

V. Rasputin “The Deadline”, “Farewell to Matera”; "Fire"; "Vasily and Vasilisa"

Shukshin. Stories.

Yu. Kazakov. Stories

3 A. LIFE OF A VILLAGE AT THE PRESENT STAGE (60-80):

1 B. COLLECTIVIZATION

2 DURING THE WAR AND POST-WAR YEARS:

VI. Correction(making necessary additions and adjustments to the plan and method of action in the event of a discrepancy between the standard, the actual action and its product).

VII. Grade (identification and awareness by students of what has already been learned and what still needs to be learned, awareness of the quality and level of learning)

Have we accomplished what we set out to do? Did you get the planned results?

Have you increased your knowledge of village prose?

How do you feel about the issues raised by our country writers?

How do you rate your participation in class? The participation of your classmates?

Looking at the array of village prose from today, it can be argued that it gave a comprehensive picture of the life of the Russian peasantry of the 20th century, reflecting all the main events that had a direct impact on its fate: the October Revolution and civil war, war communism and NEP, collectivization and famine, collective farm construction and forced industrialization, war and post-war deprivation, all kinds of experiments on agriculture and its current degradation...

There is a Russian legend about Lake Svetloyar and the holy city of Kitezh. Saving the city of Kitezh from enemy attacks, God hid it at the bottom of a forest lake. And today, on the shores of Svetloyar at night, someone seems to see a mysterious glow from the depths and hear the underwater ringing of bells. In the prose of the villagers, all of peasant Russia appeared as a symbolic Kitezh, which hid from its enemies, hid for a while, but did not disappear forever. Someone is able to see and hear him.

(V. Shukshin)

The song "Our roots are in the earth"

IX. Homework: We continue to study the literature of the 2nd half of the 20th century: prepare for a lesson on the topic “ Urban prose"(Yu. Trifonov, V. Makanin, A. Bitov)

X. Lesson summary.

The heyday of village prose occurred in the 60-70s of the 20th century, when the “thaw” was long replaced by new “frosts”. Village writers tried not only to answer the question of why collective farms were bad, but to understand what happened to Russia in the 20s century.

In the short story “On the Irtysh” (1964) Sergei Pavlovich Zalygin (1913-?) talks about collectivization in the 1930s in a Siberian village. But he talks about this completely differently than M.A. Sholokhov in “Virgin Soil Upturned,” although the last part of this novel was published a little earlier than Zalygin’s story - in 1960.

Zalygin’s story also shows how the authorities expel native village or kulaks are arrested. But these fists are no longer depicted as enemies Soviet power, but as the most hard-working peasants on whom Russia rested. Zalygin was one of the first to show the tragedy of the death of a centuries-old peasant way of life with its long and deep traditions, including cultural ones.

For centuries, the emerging type of Russian peasant economy was forcibly transformed into collective farms - this made it easier for the state to receive products from the village. No longer interested in their work, the peasants began to have a different attitude towards the land, which ceased to be their property. And this revolution in the countryside turned out to be perhaps more significant for the fate of Russia than October Revolution 1917 - after all, it was the peasantry that made up the majority of the population in the 30s.

The reader compared the historical situation with the present and said to himself: nothing has changed in the village, the same arbitrariness of the authorities, the same mockery of natural laws peasant labor. Let us recall the campaign to introduce corn, which the new party leader N.S. Khrushchev ordered to be planted throughout the country, regardless of the climatic conditions in different regions our huge country.

Not only the memory of the heart fed the theme “ small homeland", "dear homeland", but also pain for her present, anxiety for her future. Exploring the reasons for the acute and problematic conversation about the village that literature had in the 60-70s, F. Abramov wrote: “The village is the depths of Russia, the soil on which our culture grew and flourished. At the same time, the scientific and technological revolution in which we live has affected the village very thoroughly. Technology has changed not only the type of farming, but also the very type of peasant... Together with the ancient way of life, the moral type is disappearing into oblivion. Traditional Russia turns the last pages of his thousand years of history. Interest in all these phenomena in literature is natural... They are fading away traditional crafts, the local features of peasant housing that have developed over centuries are disappearing... The language is suffering serious losses. The village has always spoken a richer language than the city, now this freshness is being leached, eroded..."

There is a Russian legend about Lake Svetloyar and the holy city of Kitezh. Saving the city of Kitezh from enemy attacks, God hid it at the bottom of a forest lake. And today, on the shores of Svetloyar at night, someone seems to see a mysterious glow from the depths and hear the underwater ringing of bells. In the prose of the villagers, all of peasant Russia appeared as a symbolic Kitezh, which hid from its enemies, hid for a while, but did not disappear forever. Someone is able to see and hear him.

If my “men” weren’t rude, they wouldn’t be gentle (V. Shukshin).

Subject village man, torn from his usual environment and not finding new support in life, became one of the main themes of Shukshin’s stories. In the film story “Kalina Krasnaya” it takes on a tragic sound: the loss of life guidelines breaks the fate of the main character, former thief and prisoner Yegor Prokudin, and leads him to death.

Over the course of their history, the Russian people have selected, preserved, and elevated such human qualities that are not subject to revision: honesty, hard work, conscientiousness, kindness. We have survived all historical catastrophes and preserved in purity the great Russian language, it was handed down to us by our grandfathers and fathers - is it worth giving it away for the crackling, so-called “urban language”, which is still spoken by the same people? clever people that they seem to know how to live, and are completely false? Believe that everything was not in vain: our songs, our fairy tales, our incredible victories, our suffering - do not give all this for a sniff of tobacco... We knew how to live. Remember this. Be human.(V. Shukshin)

B.I. Bursov: [Shukshin] is old-fashioned, just as moral categories like shame, conscience, etc. are old-fashioned. And Shukshin’s hero is old-fashioned. Shukshin takes us back to our roots.

Introduction

1. Eternal questions about the fate of Russia

2. Are there answers to eternal questions in “The Village”?

3. Study of the psychology of the Slav using the example of the heroes of “The Village”

Conclusion

Bibliography

Introduction

Ivan Alekseevich Bunin is a wonderful Russian writer, a great man and difficult fate. In terms of the strength of his image, the refinement of his language, the simplicity and harmony of the architecture of his works, Bunin ranks among the outstanding Russian writers. His work, if we do not take into account his early imitative poems (and he, by the way, was a talented poet), is marked by originality and complete independence, although, of course, it was based on the rich traditions of Russian literature. Bunin became most famous for his realistic novels and short stories, such as “The Village”, “The Cheerful Yard”, “Night Conversation”, “Sukhodol” and others, which he himself considered among the works that sharply depicted the Russian soul, its peculiar plexuses, its light and dark, but almost always tragic foundations. The story "The Village", published in 1910, caused great controversy and was the beginning of Bunin's enormous popularity. This work, like the writer’s work as a whole, affirmed the realistic traditions of Russian classical literature. The story captures the richness of observations and colors, the strength and beauty of the language, the harmony of the drawing, the sincerity of tone and truthfulness. A.M. Gorky highly valued Bunin’s realistic work; he wrote about the story “Village”: “I know that when the stupefaction and confusion pass... then serious people will say: “In addition to its first artistic value, Bunin’s “Village” was the impetus that made the broken and shaky Russian society think seriously no longer about the peasant, not about the people, but about the strict question - to be or not to be Russia.” He wrote to Bunin himself in December 1910: “... No one has taken the village so deeply, so historically... I don’t see what you can compare your thing with, I’m touched by it - very much. This modestly hidden, muffled moan about native land, the road of noble sorrow, painful fear for her - and all this is new.”

1. Eternal questions about the fate of Russia

Since time immemorial, people have tended to think about questions, the answers to which could not be given by some well-known phrases and dogmas. It is no coincidence that questions of this kind began to be called philosophical or eternal. Of course that cultural heritage could not ignore such a significant part of the social and spiritual life of the people, so the creators, to the best of their abilities, actively offered possible answers encrypted in their works. Literature, of course, did not remain aloof from this difficult situation, but at the same time a most interesting activity. Beginning with ancient literature, right up to the present day there is a dispute about the fate of man and the people, about the meaning of existence, about faith, about God... There seems to be no end to these reflections.

At the beginning of the 20th century, Russia stood at a crossroads. Year by year the situation became more tense. Eternal questions with their relevance attracted the attention of the leading minds of enlightenment. Ivan Alekseevich Bunin himself wondered about them, and his work is direct proof of this. Life human society subject to change, shock and disaster. This world, according to Bunin, is disharmonious and unstable. In 1910, a large generalizing canvas was published - Bunin’s story “The Village”, in which philosophical, ethical, aesthetic problems Topical social issues are also added, which are revealed based on the material of Russian reality of the 20th century. This work is the pinnacle of Bunin’s pre-revolutionary creativity. With this story, which created a real storm in the literary world, the writer made enemies for himself, who never tired of repeating that he was a cold and evil writer who slandered peasant Russia and did not want to see anything bright and positive in it. Meanwhile, “The Village” was created by Bunin with such passion and torment with which he hardly ever wrote anything. Since childhood, he knew village life well, he had friends, first among the children, and then from the village youth, with whom he whiled away a lot of time, easily visiting their huts, and knew the peasant language to a fine degree. “My life passed in the village, therefore, I have the opportunity to see the express,” Bunin said with knowledge, considering it the primary duty of everyone thinking man, especially a writer.

Despite the fact that Durnovka and the district town were chosen as the setting for the story, the scope of life in it is much wider and larger-scale. The “village” is filled with rumors, disputes, conversations on trains, at bazaars, at gatherings, at inns. There are many characters in it who create the impression of a seething, polyphonic crowd. The heroes of the story are trying to understand their surroundings, to find some kind of support point that will help them stay in this powerful flow, to survive not only physically, but also spiritually.

At the center of the story are Tikhon and Kuzma, two siblings who adhere to different positions in life. Tikhon was firmly convinced that the most durable and reliable thing in the world is money, which gives prosperity, well-being, and confidence in the future. Endowed with a strong character, strong will, peasant ingenuity and hard work, this descendant of a serf becomes the owner of the Durnovo estate. In order to achieve his goal, Tikhon subordinated his entire life to the pursuit of wealth. On this path, he has to make deals with his conscience and be tough towards his fellow villagers. Marriage for profit does not bring Tikhon family happiness, for he is deprived even of the joy of fatherhood. He has no heirs to whom he could pass on the wealth accumulated over his entire life. The hero's personal drama is aggravated by social discord, when seemingly unshakable foundations collapse. Tikhon Krasov is deeply amazed that in the fertile black earth region there can be hunger, ruin and poverty. “The owner should come here, the owner!” - he thinks. His brother Kuzma blames the government “empty talkers” for this, who “trampled and killed the people.”

Kuzma Krasov has a different understanding of life. This hero is presented to the reader as a truth-seeker, national poet who is trying to understand and comprehend the tragedy of his people, their misfortune and guilt. Condemning atrocities ruling circles, Kuzma painfully perceives the poverty, backwardness, darkness of the peasantry, their inability to rationally organize their lives. Tikhon and Kuzma Krasov are extraordinary and strong natures, stubbornly searching for meaning and the purpose of life. But whether they find him is another question... The author’s own thoughts about hopeless life in the village haunt us throughout the entire story. For example, they are clearly felt in the dialogue between Tikhon Krasov and his brother Kuzma. Tikhon says: “Sit in the village, sip some gray cabbage soup, vilify the thin bast shoes!” “Laptey! - Kuzma responds somewhere - For the second thousand years, brother, he’s been dragging them around, damn them three times! Who is to blame? The reader is faced with a truly serious question in scope, the answer to which cannot be a statement based on one’s own everyday experience, but on the generalizing experience of generations of predecessors.

The “merciless truth” of Bunin’s story was based on its author’s deep knowledge of the “peasant kingdom.” In it, Bunin shows the life of the peasantry on the eve of the first Russian revolution, the events of which completely destroy the usual course of life in the village. We see some peasant gatherings, burning landowners' estates, the revelry of the poor... The heroes of the story are trying to understand their surroundings, to find a point of support for themselves. But the turbulent events of the beginning of the century aggravate not only social problems villages, but also destroy normal human relationships and lead the heroes of “The Village” to a dead end.

2. Are there answers to eternal questions in “The Village”?

Let us make an attempt to find answers to the eternal questions that interest us about the fate of Russia in the work being studied by I. A. Bunin “Village”. Subject to logic, let us turn to the text and find in it the main discussions about Russia, and sometimes minor characters. One of the brightest dialogues is the conversation between Kuzma and Balashkin.

“And again he grabbed a cigarette and began to roar dully:

Dear God! Pushkin was killed, Lermontov was killed, Pisarev was drowned, Ryleev was strangled... Dostoevsky was dragged to execution, Gogol was driven crazy... And Shevchenko? And Polezhaev! Would you say the government is to blame? But after all, a master is like a slave, and a hat is like Senka. Oh, is there still such a side in the world, such a people, be they thrice damned?

Anxiously fiddling with the buttons of his long-skirted frock coat, now buttoning and then unbuttoning, frowning and grinning, the embarrassed Kuzma said in response:

Such people! Greatest people, and not “such”, let me tell you.

Don't you dare give out prizes! - Balashkin shouted again.

No, sir, I dare! After all, these writers are the children of this very people!

Why not Eroshka, why not Lukashka? I, brother, if I want to shake literature, I’ll find boots for all the gods! Why is it Karataev, and not Razuvaev, with Kolupaev, not the spider world-eater, not the pop-likhodite, not a corrupt clerk, not some Saltychikha, not Karamazov with Oblomov, not Khlestakov with Nozdrev, or, so as not to go far, not your scoundrel - brother?

Platon Karataev....

Lice ate your Karataev! I don’t see the ideal here!

And what about the Russian martyrs, ascetics, saints, holy fools for Christ’s sake, schismatics?

What-oh? What about the Colosseums, the Crusades, the religious wars, the countless sects? Luther, finally? No, you're naughty! For me, you can’t break a fang right away!”

The technique of putting deep, important things into the mouths of minor characters ideological content works of thought are not Bunin’s innovation. But he, of course, skillfully and talentedly uses this find, putting into Balashkin’s head thoughts that are probably inherent in the author himself. Balashkin’s arguments sound convincing and powerful. But Kuzma Krasov’s position in his discussions about Russia and the people is no less vital: “And Kuzma remembered his father, his childhood... “Rus, Rus!” Where are you rushing?" - Gogol’s exclamation came to his mind. - “Rus, Rus'!..” Ah, empty talk, there is no abyss for you! This would be cleaner - “the deputy wanted to poison the river”... Yes, but who should we exact the same from? Unhappy people, first of all - unhappy!.. And tears welled up in Kuzma’s small green eyes - suddenly, as it often began to happen to him Lately" Or another quote from Kuzma: “A wanderer is a people, but a eunuch and a teacher are not a people? Slavery was abolished only forty-five years ago, so what should we exact from this people? Yes, but who is to blame for this? The people themselves!” For Kuzma, with his searching soul, it is generally typical to think about something high and eternal. Throughout the story we see the hero in communication with different people, representatives of different generations and views. Over time, his views transform depending on the experience gained. If in previous quotes Kuzma is at a crossroads, he doesn’t see further path development of his country, does not find answers about the fate of the people, then after Akim’s death, Kuzma’s view becomes more definite. I will quote Tikhon Ilyich’s dialogue with Kuzma: “Kuzma jumped up from his seat.

Lord, Lord! - he exclaimed in falsetto, - What a god we have! What kind of God can Deniska, Akimka, Menshov, Sery, you, me have?

“Wait,” Tikhon Ilyich asked sternly. - What kind of Akimki?

“I was lying there dying,” Kuzma continued, not listening, “did I think about him a lot?” I thought one thing: I don’t know anything about him and I can’t think! - shouted

Kuzma. - Not learned!

And, looking around with shifting, suffering eyes, buttoning and unbuttoning, he walked across the room and stopped right in front of Tikhon Ilyich’s face.

Remember, brother,” he said, and his cheekbones turned red. - Remember: our song is sung. And no candles will save you and me. Do you hear? We are Durnovites!

And, unable to find words from excitement, he fell silent. But Tikhon Ilyich was again thinking something of his own and suddenly agreed.

Right. Worthless people! Just think...”

From all the above statements, we cannot derive answers to the questions posed at the beginning of the work about the fate of Russia and the Russian people. Is this a coincidence? Is it a pattern? Does Bunin give answers and does he know them himself? Perhaps, in the story “The Village,” Ivan Alekseevich tried to sort out his head, put his thoughts in order and plunge deeper into discussions about the village, Russia, and the Russian people. It is unlikely that Bunin was able to unambiguously answer all the questions that interested him. “The Village” leaves us room for thought, while refuting the statement “The people are always right.”

3. Study of the psychology of the Slav using the example of the heroes of “The Village”

The study of the psychological nature of the Slavs is far from simple theme, to which many works, volumes and publications are devoted. Turning to Bunin, to his “Village”, we can draw some conclusions based on the characters and actions of the main characters of the story - the brothers Tikhon and Kuzma Krasov, because they are presented to the reader in development, in dynamics... Both of these heroes are looking for a way out, looking for the meaning of life , observe what is happening, but recognize life and the Russian people as lost. Quite justified, because what is happening before Kuzma’s eyes truly does not fit into the idea of ​​the broad Russian soul, of the high destiny of the Russian people, which the Slavophiles so loudly declared.

For example, an old man lies dying. He’s still alive, and already there’s a pine coffin standing in the senets, and the daughter-in-law is already crumbling the dough for pies. And suddenly the old man recovered. Where was the coffin to go? How can you justify spending? Lukyan was then cursed for five years for them, lived with reproaches from the world, starved to death, and was riddled with lice and dirt. Or, if you please, on the night before Christmas, in a fierce snowstorm, men from Kolodziej strangled a guard in the Kurasovsky forest in order to divide the rope taken from the dead man for some witchcraft purposes.

But what especially struck the main character of the story, Kuzma, was that the village itself did not believe what it was doing. They strangled a man because of a rope, but did they believe in this rope? Oh, weak! This absurd and terrible deed was committed with merciless cruelty, but without faith, without firmness... “Yes, they have no faith in anything. “Everything has degenerated...” he adds sadly. Painting a picture of the village with these very colors, Bunin makes it clear that he does not see in Russia the force that can unite Slavic peoples under the single faith of Orthodoxy, does not share the opinions of the Slav-lovers. His life path is proof of this. After all, from emigration (France), he saw even more clearly what was happening in his homeland, setting out his thoughts in a manifesto on the tasks of the Russian Abroad “Mission of the Russian Emigration”. All this gives us every right to call Bunin an opponent of the Slavophil attitude towards the peasants.

The picture of village life that Bunin paints is bleak, the psyche of a peasant is bleak, even in moments of the highest rise social struggle, the prospects for the future are also bleak among these dead fields covered with lead clouds. The idiocy of village life is closely connected with the very way of village life, with village labor, with a narrow outlook, with the isolation and isolation of the interests and life of the village.

Bunin himself said this to a correspondent of one of the Odessa newspapers: “There was a lot of rumors and rumors about my last story “Village”. Most critics have completely missed my point. I was accused of being embittered towards the Russian people, they reproached me for my noble attitude towards the people, etc. And all this because I look at the situation of the Russian people rather bleakly. But what to do if the modern Russian village does not give reason for optimism, but, on the contrary, plunges into hopeless pessimism...”

Conclusion

Ivan Bunin village story

In the story “The Village” (Bunin also called it a novel), the author violated the tradition of “pink” love of the people, showed new type folk, peasant, “earthly” personality. Buninskaya village in its spiritual and vital force it was not only fruitful, but also doomed to self-disintegration - economic and religious. The author showed true pictures of decline, impoverishment and at the same time aggravation social conflicts in a pre-revolutionary village.

The descriptions of nature are symbolic: winter, a blizzard are adjacent to a gloomy episode - an unwanted and incomprehensible wedding for many. Chaos, lack of harmony - all this manifests itself not only in interpersonal relationships in the village, but also in nature itself, which seems to echo everything that happens.

And, of course, one cannot consider the story “The Village” as a description of a specific place in Russia where the described events could have occurred. The author’s text contains words of amazing precision that convey to the reader the meaning and scale of the work: “...Russia? Yes, it’s all a village...” This is how powerfully, truthfully and clearly Bunin gave his assessment of Russia and the time in which he lived. The work does not have a sharp, tightly twisted plot, but, in Tvardovsky’s words, it has a great “thickness and density of vital material” from the time of the first Russian revolution, and the images of peasants are endowed with features of such individuality that you forget that these are not real people, but the fruit of the author’s fantasies. The story "Village" is one of most significant works the beginning of the 20th century, and I.A. Bunin is one of the brightest representatives literary galaxy late XIX– XX beginning of the century.

Bibliography

1. Bunin I.A. Antonov apples(stories and stories) – Soviet Russia, M.: 1990

2. Kazak V. Lexikon of Russian literature of the 20th century = LexikonderrussischenLiteraturab 1917. - M.: RIK "Culture", 1996.

3. Mramornov O. About the book by Yu. Maltsev “Bunin” New World, No. 9, 1995

4. Nichiporov I. I.A. Bunin. Essay on creativity Rustrana.Ru, 07/19/2007

5. Smirnova L. I.A. Bunin “Russian literature of the late XIX - early XX centuries”, M.: Education, 1993

6. Sahakyants A. About Bunin and his prose. Preface to the collection of stories M.: Pravda, 1983

The theme of the village in modern literature

11th grade student "M"

secondary school No. 274

Romashchenko Vladimir

1. Biography of Alexander Isaevich Solzhenitsyn

a) youth

b) hard labor

c) life in the village of Miltsevo

2. Solzhenitsyn the portrait painter

3. Matryonin's yard

a) the world around Matryona

b) the fate of the heroine

c) the attitude of others towards her

4. The appearance of a Russian village

5. Death of Matryona

a) farewell ceremony

b) the personality of Thaddeus

c) the death of Matryona - a break in moral ties

6. Ideological load original name works

7. Solzhenitsyn’s influence on literature

Alexander Isaevich Solzhenitsyn was born in 1918 in Kislovodsk. In 1924

year together with his mother Taisiya Zakharovna (father died six months before

birth of a son) moved to Rostov.

Solzhenitsyn studied at the Faculty of Physics and Mathematics of Rostov

university. The brilliantly gifted young man was one of the first to receive an established

in 1940, a Stalin scholarship. Having entered his fourth year, Solzhenitsyn

At the same time, he entered the correspondence department of MIFLI (Moscow Institute

philosophy, literature and history). In addition, I took English courses

language and was already writing seriously.

In October 1941 he was mobilized; he went to the front in 1942 and

passed with his “sound battery” (detecting enemy artillery) from

Orel to East Prussia. Here in February 1945, in connection with the discovery

censorship in his, Captain Solzhenitsyn’s, correspondence with his youth friend N.

Vitkevich's sharply critical, "left" assessments of Stalin's personality, he was

arrested, transported to Moscow and sentenced to eight years. These years he

spent first in a camp at the Kaluga outpost, then four years at a research institute (

"sharashka"), two and a half years - on general work in the camps of Kazakhstan.

After liberation from the camp - eternal settlement in Kok-Terek in the south

Kazakhstan (it lasted three years), and then moved to Ryazan

region and work as a mathematics teacher at a school in one of the villages (at this moment

depicted in the story "Matrenin's Dvor") and in Ryazan.

Getting acquainted with Solzhenitsyn the writer must begin with his stories, where

in an extremely concise form, with stunning artistic power author

ponders over eternal questions. Using the example of the story “Matrenin’s Dvor”

it is possible to clearly and clearly reveal the uniqueness of Solzhenitsyn as a writer, his

closeness and divergence with other writers in their views on the fate of Russian

In our literary criticism it was customary to draw a “village” line from

the first works of V. Ovechkin, F. Abramov, V. Tendryakov. Them

The thought of V. Astafiev, who knows this topic like no one else, seemed more unexpected

the other, “from the inside,” about how our “village prose” came out of “Matryonin”

yard." Somewhat later, this idea was developed in literary

criticism. “What Solzhenitsyn brought to literature is not a narrow truth, not

true message. ...Solzhenitsyn didn’t just say

truth, he created the language that time needed, and it happened

reorientation of all literature that took advantage of this

language"1.

V. Astafiev called “Matrenin’s Dvor” “the pinnacle of Russian short stories.” Myself

Solzhenitsyn once noted that he rarely turned to the short story genre, for

"artistic pleasure": "In small form you can fit a lot,

and it is a great pleasure for an artist to work on a small form. Because

that in a small form you can hone the edges with great pleasure for yourself.”

In the story "Matrenin's Dvor" all the edges are sharpened with brilliance, and the meeting with

the story becomes, in turn, a great pleasure for the reader.

The story is usually based on an incident that reveals the character of the main

hero, it is in whose image A. Solzhenitsyn reveals the “village”

Through a tragic event - the death of Matryona - the author comes to a deep

understanding her personality. Only after death “the image of Matryona floated before me,

how I didn’t understand her, even living side by side with her.”2

concentration, the intersection of frozen, not yet unfolded or already

completed “plots” of life, hero’s roads.

In his work, the writer does not give a detailed, specific description

heroines. Only one portrait detail is constantly emphasized by the author -

Matryona’s “radiant”, “kind”, “apologetic” smile. Still by the end

of the story, the reader imagines the appearance of the heroine. Already in the very key

red frosty sun The frozen window of the entryway turned a little pink,

now shortened, - and this reflection warmed Matryona’s face.” And further - already

I’m at peace with my conscience.” I remember the smooth, melodious, primordially Russian

Matryona’s speech, beginning with “some kind of low warm purring, like grandmothers’

in fairy tales"3.

The whole world around Matryona in her darkish hut with a large Russian stove -

it’s like a continuation of herself, a part of her life.

–––––––––––––––

1 Latynina A. Solzhenitsyn and us // New World. – 1990. No. 1. – p. 243

2 Solzhenitsyn A.I. Matrenin Dvor, St. Petersburg, 1999, – p. 187

3 ... ibid., p. 153

Everything here is organic and natural: the cockroaches rustling behind the partition,

the rustling of which resembled “distant noise

ocean,” and a lanky cat, picked out of pity by Matryona, and mice,

who, on the tragic night of Matryona’s death, rushed behind the wallpaper as if

Matryona herself “invisibly rushed about and said goodbye here, to her hut”1.

straightaway. Bit by bit, referring to the author's scattered throughout the story

digressions and comments, to the meager confessions of Matryona herself, is going

a complete story about the difficult life path heroines. A lot of grief and

she had to experience injustice in her lifetime: broken love,

death of six children, loss of husband in war, hellish, not for every man

feasible labor in the village, severe illness-illness, bitter resentment towards the collective farm,

who squeezed all the strength out of her, and then wrote it off as unnecessary, leaving her without

pensions and support. Tragedy is concentrated in the fate of one Matryona

the village Russian woman is the most expressive, blatant.

But - amazing thing! – Matryona was not angry at this world, she saved

good mood, feelings of joy and pity for others, still

a radiant smile brightens her face. One of the main author’s assessments is

“she had a sure way to regain her good mood -

Job". Over the course of a quarter of a century on the collective farm, she broke her back quite a bit:

dug, planted, carried huge sacks and logs, was one of those who,

Nekrasova, “will stop a galloping horse.” And all this “not for money - for sticks.

For sticks of workdays in the accountant’s dirty book.” However, pensions

she was not supposed to, because, as Solzhenitsyn writes with bitter irony,

She didn’t work at a factory - on a collective farm... And in her old age she didn’t know Matryona

rest: now she grabbed a shovel, now she went out with bags to mow the swamp

grass for her dirty white goat, then she went with other women

secretly steal peat from the collective farm for winter kindling. The Chairman himself

the collective farm, recently sent from the city, also stocked up. “Winter was not expected”

– the writer ends on the same ironic note.

“Matryona was angry with someone invisible,” but she did not hold a grudge against the collective farm.

Moreover, according to the very first decree, she went to help the collective farm, without receiving, as well as

before, nothing for work. Yes, and any distant

–––––––––––––––

1 Solzhenitsyn A.I. Matrenin Dvor, St. Petersburg, 1999, – p. 180

did not refuse help to a relative or neighbor, “without a shadow of envy”

Then she told the guest about the neighbor’s rich potato harvest. Never

The work was not difficult for her, “Matrona did not spare either her labor or her goods.”

never". And everyone around Matryonin shamelessly took advantage of

selflessness.

How does Matryona appear in the system of other images of the story, what is it like

the attitude of those around her? Sisters, sister-in-law, adopted daughter Kira,

the only friend in the village, Thaddeus - these are those who were closest to

Matryona, who should have understood and appreciated this man. AND

What? She lived poorly, wretchedly, alone - a “lost old woman”, exhausted

labor and illness. Relatives almost did not appear in her house, fearing

Apparently, Matryona will ask them for help. Everyone condemned in unison

Matryona, that she is funny and stupid, working for others for free, always in

meddling in men's affairs (after all, she also got hit by a train because she wanted to help

men, pull the sleigh with them through the crossing). True, after death

Matryona’s sisters immediately flocked, “seized the hut, the goat and the stove, locked

her chest was locked, two hundred funerals were gutted from the lining of her coat

rubles"1. Yes, and a friend of half a century is “the only one who sincerely loved

Matryona in this village”2, who came running in tears with the tragic news,

however, when leaving, she did not forget to take Matryona’s knitted blouse with her,

so that the sisters don’t get it. Sister-in-law, who recognized Matryona’s simplicity and

cordiality, spoke about it “with contemptuous regret.” Mercilessly

Everyone took advantage of Matryona’s kindness and simplicity - and unanimously condemned her

Matryona feels uncomfortable and cold in her state. She's lonely inside

big society and, worst of all, inside a small society - your village,

family, friends. This means that what is wrong is the society whose system suppresses

Let's continue this thought. We can say that Matryona is close to the hero

another story by Solzhenitsyn - “One Day in the Life of Ivan Denisovich”. Both of them are

conciliar personalities, that is, carrying within themselves folk principles, subconsciously

feeling personal responsibility to the people. "Do they know about this or

they don’t even suspect whether they are acting consciously or subconsciously, but they

respond to the challenge of an inhuman system of power. The system suppressed them for

line of mercy, doomed to destruction. No longer

–––––––––––––––

1 Solzhenitsyn A.I. Matrenin Dvor, St. Petersburg, 1999, – p. 181

2 ... ibid., p. 179

specifically Ivan Denisovich only or one Matryona, but the whole people... They are ready

go through an incredible amount of things, including

including personal humiliation – without humiliating one’s soul at the same time”1

Thus, Solzhenitsyn’s measure of all things is not

social, but spiritual. “It’s not the result that’s important... it’s the spirit! Not what was done - but how.

“It’s not what has been achieved, but at what cost,” he never tires of repeating, and this puts

writer in opposition not so much to this or that political system,

how much to the false moral foundations of society"2

It’s about this – about the false moral foundations of society – that he hits

anxiety in the story “Matrenin’s Dvor”.

Fate threw the hero-storyteller into a station with something strange for the Russians.

place name - Peat product. Already in the name itself something wild happened

violation, distortion of primordial Russian traditions. Here "we stood before and

The dense, impenetrable forests survived the revolution.” But then they were cut down

they brought it down to the ground, on it the chairman of the neighboring collective farm has his collective farm

elevated, and received for himself the Hero of Socialist Labor.

From individual parts The holistic appearance of the Russian village is taking shape.

Gradually there was a substitution of the interests of a living, concrete person

state and government interests. They no longer baked bread or traded

nothing edible - the table became meager and poor. Collective farmers "to the whitest flies"

everyone to the collective farm, everyone to the collective farm,” and they had to collect hay for their cows

already from under the snow. The new chairman began by cutting off everyone's

gardens for disabled people, and huge areas of land were empty behind fences. Long

Matryona lived for years without a ruble, and when they advised her to seek a pension, she

I wasn’t even happy anymore: they chased her around the offices with papers for several months -

“now behind the dot, now after the comma.” And the neighbors who were more experienced in life summed it up

to her pension ordeals: “The state is momentary. Today, you see,

and tomorrow he’ll take it away.”3

All this led to a distortion, a displacement of the

The most important thing in life is moral principles and concepts. How it turned out, it’s sad

the tongue calls our property.

–––––––––––––––

1 Bondarenko V. Core literature // Our contemporary. – 1989. – No.

2 Latynina A. Solzhenitsyn and us // New world. – 1990. – No. 1. – p. 249.

3 Solzhenitsyn A.I. Matrenin Dvor, St. Petersburg, 1999, – p. 162

And losing it is considered shameful and stupid in front of people.”1 Greed,

Envy of each other and bitterness drive people. When

dismantled Matryona’s room, “everyone worked like crazy, including

the kind of bitterness that people have when they smell big money or are waiting

big treat. They shouted at each other and argued.”2

“And the years passed, as the water floated...” So Matryona passed away. “My dear one was killed

man”3,” the hero-narrator does not hide his grief. Significant place in

In the story, the writer devotes the scene to Matryona’s funeral. And this is no coincidence. In the house

Matryona's family and friends gathered for the last time, in whose surroundings

she lived her life. And it seemed that Matryona was leaving this life, but no one

and not understood, not mourned by anyone as a human being. Even from folk rituals

In saying goodbye to a person, the real feeling, the human beginning, has gone. Cry

turned into a kind of politics, ritual norms are unpleasantly striking in their

“coldly thought out” orderliness. They drank a lot at the funeral dinner,

they said loudly, “not about Matryona at all.” According to custom, they sang “Eternal

I no longer put feelings into memory”4.

Undoubtedly, the most terrible figure in the story is Thaddeus, this “insatiable

old man”, who has lost elementary human pity, overwhelmed

the only thirst for profit. Even the upper room “has been under a curse since

Thaddeus’s hands grabbed hold of it to break it”5.

Is this Thaddeus really such a terrible evil, counting every log,

transporting the remains of the upper room from the move almost on the day of the funeral? In the 19th century

he would probably pass for Turgenev's Khor from "Khor and Kalinich" or

owner of a private tavern in “Singers”... Under Stolypin he would have become

a civilized farmer. In Talnov, which also survived the bacchanalia

collectivization and extortion post-war years, this type of hoarder, strong

the owner, of course, “went berserk” and acquired the features of a very creepy predator. What

he should have persuaded the unmercenary Matryona, who every spring harnessed

with the women in the plow to plow the gardens, and didn’t take any money! But

special villainy in his greed, will take

–––––––––––––––

2 ... ibid., p. 173

3 ... ibid., p. 179

4 ... ibid., p. 186

5 ... ibid., p. 183

There is still no “antichrist” in him...

Probably Thaddeus was completely different in his youth - it’s no coincidence

Matryona loved him. And the fact that by old age he had changed beyond recognition is

a certain share of the blame belongs to Matryona herself. And she felt it, forgave him a lot.

She didn’t wait for Thaddeus from the front at all, she buried her in her thoughts ahead of time

- and Thaddeus became angry with the whole world, taking out all his resentment and anger on his wife,

he was gloomy with one heavy thought - to save the upper room from the fire and from the Matrenins

But for many readers something else seemed more terrible: “Having gone through

But Matryona - like that - was completely alone.

And the question arises:

– Is there a certain pattern in the death of Matryona, or is it a coincidence?

random circumstances, reliable reproduction by the author of real

fact? (It is known that Solzhenitsyn’s Matryona had a prototype - Matryona

Vasilievna Zakharova, whose life and death formed the basis of the story.)

Most opinions agree on one thing: Matryona’s death is inevitable and

natural. The death of the heroine is a certain milestone, it is a precipice of those who were still holding on

under Matryona moral ties. Perhaps this is the beginning of decay, death

moral principles that Matryona strengthened with her life.

In connection with this conclusion, it should be recognized that Solzhenitsyn’s view of

the village of those years (the story was written in 1959) is distinguished by its harsh and

the brutal truth. Considering that the 50-60s “village prose” in general

I also saw a guardian of spiritual and moral values ​​in the village

people's life, the difference between Solzhenitsyn's poetry is obvious.

righteous" - carried the main ideological load. A. Tvardovsky

For the sake of publication, he proposed a more neutral name - “Matrenin’s Dvor”. IN

this name has a deep meaning. If we start from broad concepts

“collective farm yard”, “peasant yard”, then in the same row there will be “Matrenin”

yard" as a symbol of a special structure of life, a special world. Matryona,

the only one in the village, lives in her own world: she arranges her life

hard work, honesty, kindness and patience, maintaining your

–––––––––––––––

1 Solzhenitsyn A.I. Matrenin Dvor, St. Petersburg, 1999, – p. 184

soul and inner freedom. Popularly wise, reasonable, able

to appreciate kindness and beauty, smiling and sociable in disposition, Matryona managed

resist evil and violence, preserving your “yard”.

This is how the associative chain is logically built: Matrenin’s yard -

Matryona's world is the special world of the righteous. The world of spirituality, goodness, mercy, oh

which F. M. Dostoevsky and L. N. Tolstoy wrote. But Matryona dies - and

this world is collapsing: they are tearing away her house, log by log, greedily dividing her

modest belongings. And there is no one to protect Matrenin’s yard, no one even

I think that with the passing of Matryona, something very valuable and

important, not amenable to division and primitive everyday assessment.

“We all lived next to her and did not understand that she was the same righteous person, without

which, according to the proverb, a village is not worth.

Neither the city.

Neither the whole land is ours.”1

“What Solzhenitsyn brought to literature is not a narrow truth, nor a truth

messages... Solzhenitsyn not only told the truth, he created a language in which

time was needed, and a reorientation of all literature took place,

using this language." Astafiev believed that our village

–––––––––––––––

1 Solzhenitsyn A.I. Matrenin Dvor, St. Petersburg, 1999, – p. 188

2 Latynina A. Solzhenitsyn and us // New World. – 1990. No. 1. – p. 243

Bibliography

> Solzhenitsyn A.I. Matrenin Dvor, St. Petersburg, “ABC”, 1999

> Bondarenko V. Core literature - Our contemporary, No. 12, 1989

> Bykova N. G. Alexander Isaevich Solzhenitsyn - Encyclopedia “Literature.

Schoolchildren's Handbook", M, "Slovo", 1995

> Latynina A. Solzhenitsyn and us - “New World”, No. 1, M, 1990

> Loktionova N. “A village is not worth it without a righteous man” - “Literature at school”, No. 3,

M, "Enlightenment", 1994

> Chalmaev V. A. Alexander Solzhenitsyn. Life and creativity., M,

"Enlightenment", 1994