Matrenin Dvor analysis with quotes. Comprehensive analysis of the work Matrenin Dvor A.I.

“A village is not worthwhile without a righteous man” - this is the original title of the story. The story echoes many works of Russian classical literature. Solzhenitsyn seems to be transporting one of Leskov’s heroes to the historical era of the 20th century, the post-war period. And the more dramatic, the more tragic is the fate of Matryona in the midst of this situation.

The life of Matryona Vasilyevna is seemingly ordinary. She devoted her entire life to work, selfless and hard peasant work. When the construction of collective farms began, she went there too, but due to illness she was released from there and was now brought in when others refused. And she didn’t work for money, she never took money. Only later, after her death, her sister-in-law, with whom the narrator settled, will remember evilly, or rather, remind her of this strangeness of hers.

But is Matryona’s fate really that simple? And who knows what it’s like to fall in love with a person and, without waiting for him, to marry someone else, unloved, and then see your betrothed a few months after the wedding? And then what is it like to live with him side by side, to see him every day, to feel guilty for the failure of his and your life? Her husband didn't love her. She bore him six children, but none of them survived. And she had to take in raising the daughter of her beloved, but now a stranger. How much spiritual warmth and kindness accumulated in her, that’s how much she invested in her adopted daughter Kira. Matryona survived so much, but did not lose the inner light with which her eyes shone and her smile shone. She did not hold a grudge against anyone and was only upset when they offended her. She is not angry with her sisters, who appeared only when everything in her life was already prosperous. She lives with what she has. And therefore I have not saved anything in my life except two hundred rubles for a funeral.

The turning point in her life was when they wanted to take away her room. She did not feel sorry for the good, she never regretted it. She was afraid to think that they would destroy her house, in which her whole life had flown by in one moment. She spent forty years here, endured two wars, a revolution that flew by with echoes. And for her to break and take away her upper room means to break and destroy her life. This was the end for her. The real ending of the novel is not accidental either. Human greed destroys Matryona. It is painful to hear the author’s words that Thaddeus, because of whose greed the matter began, on the day of Matryona’s death and then the funeral, only thinks about the abandoned log house. He does not feel sorry for her, does not cry for the one whom he once loved so dearly.

Solzhenitsyn shows the era when the principles of life were turned upside down, when property became the subject and goal of life. It is not for nothing that the author asks the question why things are called “good”, because they are essentially evil, and terrible. Matryona understood this. She didn’t care about outfits, she dressed like a villager. Matryona is the embodiment of true folk morality, universal morality, on which the whole world rests.

So Matryona remained not understood by anyone, not truly mourned by anyone. Only Kira alone cried, not according to custom, but from the heart. They feared for her sanity. Material from the site

The story is masterfully written. Solzhenitsyn is a master of subject detail. He builds a special three-dimensional world from small and seemingly insignificant details. This world is visible and tangible. This world is Russia. We can say with precision where in the country the village of Talnovo is located, but we understand very well that in this village there is all of Russia. Solzhenitsyn connects the general and the particular and encloses it in a single artistic image.

Plan

1. The narrator gets a job as a teacher in Talnovo. Settles in with Matryona Vasilyevna.
2. Gradually the narrator learns about her past.
3. Thaddeus comes to Matryona. He is busy with the upper room, which Matryona promised Kira, his daughter, raised by Matryona.
4. While transporting a log house across the railway tracks, Matryona, her nephew and Kira's husband die.
5. There have been long disputes over Matryona's hut and property. And the narrator moves in with her sister-in-law.

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There are always a lot of emotions, intellectual tension and discussions around the name of Alexander Isaevich Solzhenitsyn. Our contemporary, a troublemaker in stagnant hard times, an exile with unheard-of world fame, one of the “bisons” of Russian literature abroad, Solzhenitsyn combines in his personal appearance and creativity many principles that disturb our consciousness. The writer’s story “Matrenin’s Dvor” is also characteristic of this. The story centers on the fate of a village woman.

By force of circumstances, after his release from Stalin’s camps, the writer came into contact with the fate of an old, lonely woman. Having worked all her life on the collective farm not for money, but for “sticks,” she did not receive a pension. The meager decoration and only decoration of her hut were pots and tubs with ficus trees, a dull mirror and two bright cheap posters on the wall. In her declining years, seriously ill, Matryona has no peace and is forced to literally earn herself a piece of bread by the sweat of her brow. Without any special deliberateness, the author narrates how endlessly and persistently, almost daily, this woman overcomes the long path to the village council, worrying about a pension. And it’s not because Matryona’s case is not progressing because she didn’t deserve it from the state. The reason for the futility of these efforts is, unfortunately, the most common. In the story we are faced with a completely everyday picture: “He goes to the village council, but the secretary is not there today, and just like that, he is not there, as happens in villages. Tomorrow, then, go again. Now there is a secretary, but he does not have a seal. The third day, go again. And go on the fourth day because they signed blindly on the wrong piece of paper.”

The story quite clearly reveals the relationship between power and man. Matryona has one and only goat, but even for her, collecting hay is “great work.” “At the canvas,” explains Matryona, “don’t mow - there are your own owners, and in the forest there is no mowing - the forestry is the owner, and on the collective farm they don’t tell me - I’m not a collective farmer, they say, now... The chairman is new, recent, sent from the city, first of all I trimmed the gardens of all disabled people. Fifteen acres of sand for Matryona, and ten acres were still empty behind the fence.”

But it’s even more difficult for an old woman to get hold of fuel: “We stood around the forest, but there was nowhere to get a firebox. Excavators roared all around in the swamps, but the peat was not sold to residents, but only transported to the authorities, and whoever was with the authorities, and by car - to teachers, doctors, and factory workers. There was no fuel provided, and there was no need to ask about it. The chairman of the collective farm walked around the village, looked into his eyes demandingly or dimly, or innocently, talking about anything except fuel. Because he himself stocked up...” So the village women had to gather in groups of several for courage and carry peat secretly in bags. Sometimes two pounds were carried three kilometers. “My back never heals,” admits Matryona. “In the winter you carry the sled, in the summer you carry the bundles, by God, it’s true!” Moreover, fear is a constant companion of her already joyless life: sometimes they walked around the village with a search - looking for illegal peat. But the approaching cold again drove Matryona at night to look for fuel. In measured, colorful sketches, the image of not only a lonely and destitute woman, but also a person with an immensely kind, generous and selfless soul gradually appears before us. Having buried six children, lost her husband at the front, and was sick, Matryona did not lose her ability to respond to the needs of others. Not a single plowing in the village could be done without it. Together with other women, she harnessed herself to the plow and pulled it on herself. Matryona could not refuse help to any relative, close or distant, often abandoning her urgent matters. Not without some surprise, the narrator also notices how sincerely she rejoices at someone else’s good harvest, although this never happens in the sand herself. Having essentially nothing, this woman knows how to give. She is embarrassed and worried, trying to please her guest: she cooks larger potatoes for him in a separate pot - this is the best she has.

If in the first part of the work Matryona and her life are described through the perception of the narrator, then in the second the heroine herself talks about herself, her past, remembers her youth and love. In her youth, fate treated Matryona harshly: she did not wait for her beloved, who went missing in the war. The death of Fadey's mother and the matchmaking of his younger brother seemed to determine her fate. And she decided to enter that house where, it seemed, her soul had settled long ago and forever. And yet Matryona was not thinking about herself then: “Their mother died... They didn’t have enough hands.” Did Fadey, who soon returned from Hungarian captivity, understand her sacrifice? His terrible, cruel threat: “... if it weren’t for my dear brother, I would have chopped you both up,” which Matryona recalls decades later, makes her guest shudder. For ten years Matryona raised “fadeya’s little blood” - his youngest daughter Kira. She got married herself. She gives the upper room to her pupil. It is not easy for her to decide to tear down the house in which she has lived for forty years. And although for her this means the end of her life, she does not feel sorry for the “upper room that stood idle, just as Matryona never felt sorry for her work or her goods.”

However, everything ends tragically: Matryona dies, and with her one of Fadey’s sons and the tractor driver. The writer depicts the shock of people from what happened at the railway crossing. And only Fadey is completely absorbed in another desire - to save the abandoned logs of the upper room. This is what “tormented the soul of black-bearded Fadey all Friday and all Saturday.” His daughter was going crazy, his son-in-law was facing trial, his dead son lay in his own house, on the same street - the woman he had killed, whom he had once loved - Fadey only came to stand at the coffins for a short time. His high forehead was overshadowed by a heavy thought, but this thought was how to “save the logs of the upper room from the fire and the machinations of Matryona’s sisters.”

Why are they so different - Fadey and Matryona? In the sympathetic and at the same time indignant tone of the story, this question seems to be heard all the time. The answer lies in the very comparison of the heroes: no matter how difficult and inevitable fate is, it only more clearly reveals the measure of humanity in each of the people. The content of the story convinces that Solzhenitsyn’s ideological and artistic search is in line with the Christian Orthodox worldview. His story reflects different aspects of life in the Russian village of the 50s, but still the moral and spiritual content is dominant in it. Solzhenitsyn's heroine is fiercely devout, although the narrator notes that he has never even seen her pray. But all of Matryona’s actions and thoughts are selfless and, as it were, surrounded by an aura of holiness, which is not always clear to others. That's why people have such different attitudes towards her. All the sister-in-law’s reviews, for example, are disapproving: “...and she was unclean; and I didn’t chase after the acquisition; and not careful; and she didn’t even keep a pig,... and stupid, she helped strangers for free... And even about Matryona’s cordiality and simplicity, which her sister-in-law recognized for her, she spoke with contemptuous regret.” But such a wonderful Matryona, although only a few, was dear to her. Fadey's son confesses to the tenant that he loves his aunt very much. The pupil Kira is inconsolable in grief when Matryona dies. The peculiarity of “Matryona’s Court” is that the main character is revealed in it not only through the perception of the guest and not only through his personal relationship with her. The reader recognizes Matryona through her participation in ongoing events, in the description of which the author’s voice is heard, but it sounds even more clearly in the description of what is happening before the eyes of the narrator. And here the voices of the author and narrator become almost indistinguishable. It is the author who allows us to see the characters in extreme conditions, when the narrator himself becomes an active player.

It is impossible not to notice with what dedication Matryona rolls heavy logs onto the sled. The author describes the troubles of this woman down to the smallest detail. It is here that we first see not the Matryona who was unfairly deprived of fate, offended by people and power, but the one who, despite everything, retained the ability to love and do good. Describing her, the author notes: “Those people always have good faces who are in harmony with their conscience.” The righteous peasant woman lived surrounded by unfriendly and selfish collective farmers. Their miserable and miserable life was not much different from the existence of camp prisoners. They lived according to traditional customs. Even after the death of Matryona, who had done so much good for everyone, the neighbors were not particularly worried, although they cried, and they went to her hut with their children, as if they were going to a performance. “Those who considered themselves closer to the deceased began crying from the threshold, and upon reaching the coffin, they bent down to cry over the very face of the deceased.” The lament of relatives was “a kind of politics”: in it, everyone expressed their own thoughts and feelings. And all these lamentations boiled down to the fact that “we are not to blame for her death, but we’ll talk about the hut!” It’s a pity that the language calls our property good, the people’s or our own. And losing it is considered shameful and stupid in front of people.

The story “Matrenin's Dvor” is impossible to read without tears. This sad story of a righteous peasant woman is not the author’s fiction, but is taken from real life. The writer himself said the best about his heroine: “We were all next to her and did not understand that she was the very righteous man without whom, according to the proverb, the village would not stand. Neither the city nor the whole land is ours.” These words express the main idea of ​​the story.

Composition

“Matrenin’s Dvor” is an autobiographical work. This is Solzhenitsyn’s story about himself, about the situation in which he found himself when he returned in the summer of 1956 “from the dusty hot desert.” He “wanted to worm his way in and get lost in the very interior of Russia,” to find “a quiet corner of Russia away from the railways.” Ignatich (under this name the author appears before us) feels the delicacy of his position: a former camp inmate (Solzhenitsyn was rehabilitated in 1957) could only be hired for hard work - carrying stretchers. He had other desires: “But I was drawn to teaching.” Both in the structure of this phrase with its expressive dash, and in the choice of words, the mood of the hero is conveyed, the most cherished is expressed.

“But something was already beginning to shift.” This line, conveying a sense of time, gives way to the further narration, reveals the meaning of the episode “In the Vladimir oblon”, written in an ironic key: and although “every letter in my documents was felt, they went from room to room,” and then - for the second time - again “they went from room to room, they called, they creaked,” they finally gave the teacher a place, they printed on the order: “Peat product.”

The soul did not accept the settlement with this name: “Peat Product”: “Ah, Turgenev did not know that it was possible to compose something like this in Russian!” The irony here is justified: it also contains the author’s sense of the moment. The lines following this ironic phrase are written in a completely different tone: “A wind of calm blew over me from the names of other villages: Vysokoye Pole, Talnovo, Chaslitsy, Shevertny, Ovintsy, Spudni, Shestimirovo.” Ignatich “enlightened” when he heard the folk talk. The peasant woman’s speech “struck” him: she didn’t speak, but hummed touchingly, and her words were the very ones that brought me longing from Asia.”

The author appears before us as a lyricist of the finest kind, with a developed sense of the Beautiful. In the general plan of the narrative, lyrical sketches and soulful lyrical miniatures will find a place. “High Field. Just the name made my soul happy,” - this is how one of them begins. Another is a description of a “drying dammed river with a bridge” near the village of Talnovo, which “came to the liking” of Ignatich. So the author takes us to the house where Matryona lives.

"Matrenin's yard" It is no coincidence that Solzhenitsyn called his work that way. This is one of the key images of the story. The description of the yard, detailed, with a lot of details, is devoid of bright colors: Matryona lives “in desolation.” It is important for the author to emphasize the inseparability of a house and a person: if the house is destroyed, its owner will also die.

“And the years passed as the water floated” As if from a folk song, this amazing proverb came into the story. It will contain Matryona’s entire life, all the forty years that have passed here. In this house she will survive two wars - German and World War II, the death of six children who died in infancy, the loss of her husband, who went missing during the war. Here she will grow old, remain lonely, and suffer need. All her wealth is a lanky cat, a goat and a crowd of ficus trees.

Matryona's poverty looks out from all angles. But where will wealth come to a peasant's house? “I only found out later,” says Ignatich, “that year after year, for many years, Matryona Vasilievna did not earn a ruble from anywhere. Because she was not paid a pension. Her family didn't help her much. And on the collective farm she did not work for money - for sticks. For sticks of workdays in the accountant’s dirty book.” These words will be supplemented by the story of Matryona herself about how many grievances she suffered while worrying about a pension, about how she extracted peat for the stove and hay for the goat.

The heroine of the story is not a character invented by the writer. The author writes about a real person - Matryona Vasilievna Zakharova, with whom he lived in the 50s. Natalya Reshetovskaya’s book “Alexander Solzhenitsyn and Reading Russia” contains photographs taken by Solzhenitsyn of Matryona Vasilievna, her house, and the room that the writer rented. His story-memoir echoes the words of A. T. Tvardovsky, who remembers his neighbor Aunt Daria,

With her hopeless patience, With all the trouble -

With her hut without a canopy, Yesterday's war

And with the empty workday, And with the current grave misfortune.

And with labor - not fuller

It is noteworthy that these lines and Solzhenitsyn’s story were written at approximately the same time. In both works, the story about the fate of a peasant woman develops into thoughts about the brutal devastation of the Russian village during the war and post-war times. “Can you really tell us about this, in what years you lived?” This line from M. Isakovsky’s poem is consonant with the prose of F. Abramov, who talks about the fate of Anna and

Liza Pryaslinykh, Marfa Repina This is the literary context in which the story “Matrenin’s Dvor” falls!

But Solzhenitsyn’s story was not written just to once again talk about the suffering and troubles that the Russian woman endured. Let us turn to the words of A. T. Tvardovsky, taken from his speech at a session of the Governing Council of the European Writers Association: “Why is the fate of an old peasant woman, told on a few pages, of such great interest to us? This woman is unread, illiterate, a simple worker. And yet, her spiritual world is endowed with such a quality that we talk to her as if we were talking to Anna Karenina.”

Having read this speech in Literaturnaya Gazeta, Solzhenitsyn immediately wrote to Tvardovsky: “Needless to say, the paragraph of your speech relating to Matryona means a lot to me. You pointed to the very essence - to a woman who loves and suffers, while all the criticism was always scouring the surface, comparing the Talnovsky collective farm and the neighboring ones.”

So two writers come to the main theme of the story “Matrenin’s Dvor” - “how people live.” In fact: to survive what Matryona Vasilyevna Zakharova experienced and remain a selfless, open, delicate, sympathetic person, not to become embittered at fate and people, to preserve her “radiant smile” until old age. What mental strength is needed for this?!

This is what Alexander Isaevich Solzhenitsyn wants to understand and what he wants to talk about. The entire movement of the plot of his story is aimed at understanding the secret of the character of the main character. Matryona reveals herself not so much in her everyday present as in her past. She herself, remembering her youth, admitted to Ignatich: “It’s you who haven’t seen me before, Ignatich. All my bags were five pounds each and I didn’t count them as a tizhel. The father-in-law shouted: “Matryona! You'll break your back! The Divir did not come to me to put my end of the log on the front.”

Young, strong, beautiful, Matryona was from that breed of Russian peasant woman who “will stop a galloping horse.” And this happened: “Once the horse, out of fear, carried the sleigh into the lake, the men galloped away, but I, however, grabbed the bridle and stopped it,” says Matryona. And at the last moment of her life, she rushed to “help the men” at a crossing - and died.

Matryona will be revealed most fully in the dramatic episodes of the second part of the story. They are connected with the arrival of the “tall black old man,” Thaddeus, the brother of Matryona’s husband, who did not return from the war. Thaddeus came not to Matryona, but to the teacher to ask for his eighth-grader son. Left alone with Matryona, Ignatich forgot to think about the old man, and even about her. And suddenly from her dark corner she heard:

“I, Ignatich, once almost married him.

She got up from the wretched rag bed and slowly came out to me, as if following her words. I leaned back and for the first time saw Matryona in a completely new way

He was the first to marry me before Efim. He was the elder brother. I was

nineteen, Thaddeus - twenty-three. They lived in this very house then. Theirs

there was a house. Built by their father.

I involuntarily looked back. This old gray rotting house suddenly, through the faded green skin of the wallpaper, under which mice were running, appeared to me with young, not yet darkened, planed logs and a cheerful resinous smell.

And you him?.. So what?..

That summer we went with him to sit in the grove,” she whispered. - There was a grove here. It didn’t come out without much, Ignatich. The German war has begun. They took Thaddeus to war.

She dropped it - and blue, white and yellow July flashed before me

the fourteenth year: still peaceful sky, floating clouds and people boiling with ripe

stubble I imagined them side by side: a resin hero with a scythe across his back; her, rosy,

hugging the sheaf. And - a song, a song under the sky

He went to war and disappeared. For three years I hid and waited. And no news, and no

bones

Tied with an old, faded handkerchief, Matryona’s round face looked at me in the indirect soft reflections of the lamp - as if freed from wrinkles, from an everyday careless outfit - frightened, girlish, faced with a terrible choice.

Where, in what work of modern prose can one find such inspired pages that could be compared with Solzhenitsyn’s sketches? Compare both by the strength and brightness of the character depicted in them, the depth of his comprehension, the penetration of the author's feeling, expressiveness, richness of the language, and by their dramaturgy, the artistic connections of numerous episodes. In modern prose - nothing.

Having created a charming character that is interesting to us, the author warms the story about him

lyrical feeling of guilt. “No Matryona. A loved one was killed. And on the last day I

reproached her for wearing a quilted jacket.” Comparison of Matryona with other characters, especially

noticeable at the end of the story, in the funeral scene, was strengthened by the author’s assessments: “We all lived next to her and did not understand that she was the very righteous person, without whom, according to the proverb,

the village is not worth it.

Neither the city.

Neither the whole land is ours.”

The words that complete the story return us to the original version of the title - “A village is not worthwhile without a righteous man.”

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