LITERATURE
TOPIC: "The search for the meaning of life by the heroes of Shukshin's stories"
Lesson Plan
Topic: The search for the meaning of life by the heroes of Shukshin's stories.
Type of lesson: Combined lesson
Educational:
to acquaint with the work of Shukshin;
improve text analysis skills.
Educational:
education of sensitivity, kindness, humane attitude towards people, a sense of justice, honesty, truth, conscience;
fostering a sense of love for the Motherland, patriotism.
Developing:
development of the ability to analyze information;
compare and draw conclusions;
establish a relationship with contemporary events;
development of creative abilities of students;
coherent monologue.
Equipment:
1. Wall newspaper dedicated to the work of Shukshin.
2. Statements by V. M. Shukshin, drawn up on the board.
Interdisciplinary connections:
History, Russian language.
During the classes
1. Organizational moment.
2. Motivation of educational activity.
Introduction by the teacher.
Today in the lesson we will talk about the questions that Vasily Shukshin raised, and which bequeathed to us to solve. We will also talk about the lessons of Shukshin: about the way to live in art, about the position of the artist. His work calls for a dispute, for discussion. In our lesson, memories of the writer, his letters, excerpts from articles, poems will be heard.
3.Communication of new knowledge.
3.1. The student reads a poem:
Scattered village in the foothills,
Where the Katun splashed lightly,
Knew enough and dashing and grief
This is an ancient village.
Here the boy toiled the path,
A drunken wind inhaled from the meadows,
Eating potatoes in the garden
On the Katun he pulled chebakov.
Siberian edge. The landscape is unobtrusive.
A wave hits the shore of the Katun.
Everyone in Russia knows that splices -
This is the birthplace of Shukshin.
(Kondakov)
Vasily Makarovich Shukshin, while working on a novel about Stepan Razin “I came to give you freedom”, found the history of his peasant family in Russian history. It turns out that the Sura River, a tributary of the Volga, has its own small tributary - the Shuksha River. From here, from the Volga region, the ancestors of the writer, the Shukshins, moved to Altai in the 19th century.
And he was born on July 25, 1929 in the village of Srostki, Biysk district, Altai Territory. And he was still very young when his father was arrested on charges of aiding the enemies of Soviet power. In 1956, Makar Shukshin was posthumously rehabilitated - like many innocent victims at that time. Vasya and his sister Natalya were raised by their mother, Maria Sergeevna. For a short time, the children had a stepfather, according to Shukshin's memoirs, a kind person. My stepfather died in the war. Shukshin carried the most tender love for his mother through his whole life.
In 1943, the war year, he graduated from the rural seven-year plan and entered the Biysk Aviation Technical School, but he did not like it there, and he returned to Srostki, became an ordinary collective farmer, a jack of all trades. However, in 1946, Maria Sergeevna had to lead her son into an independent life.
From the age of 17, Shukshin worked at a construction site in Kaluga, at a tractor plant in Vladimir, at construction sites in the Moscow region - workers were then required everywhere. He tried to enroll in a military aviation school, in an automobile school - through the military registration and enlistment offices. Did not work out. In 1949, Shukshin was called up for military service - to the navy. He served first in the Baltic, then in Sevastopol: a senior sailor, a radio operator by profession. Registered in the officer's library. The fact that books build entire destinies, Shukshin wrote, having already become a famous writer.
After demobilization, he returned to Srostki - apparently already with well-thought-out plans. I passed my matriculation exams externally, having messed around with mathematics a lot, and considered this my small feat: “I have never experienced such a strain of strength.” In Srostki, obviously, there were not enough teachers - Shukshin taught Russian language and literature at the evening school there for a short time and retained a bright memory of how gratefully his students listened to him - the village boys and girls who had worked out during the day.
(From V. Shukshin’s article “Monologue on the Stairs”) “I was, frankly, a poor teacher (without special education, without experience), but I still can’t forget how well, thankfully the guys and girls who had worked out during the day looked at me when I managed to tell them something important, interesting. I loved them in those moments. And in the depths of my soul, not without pride and happiness, I believed: now, in these moments, I am doing a real, good deed. It's a shame we don't have many moments like this in our lives. They make up happiness.”
In the spring of 1954, Maria Sergeevna, in order to raise money for her son to travel to Moscow, sold the heifer. There are many legends about how Shukshin entered the Institute of Cinematography.
(From the memoirs of Shukshin) “It was 1954. walked entry exams at VGIK. My preparation left much to be desired, I did not shine with special erudition and with all my appearance aroused bewilderment of the selection committee ... Then I met Mikhail Ilyich Romm. Applicants in the corridor painted a terrible picture of a person who will now look at you and incinerate you. And they looked at me with surprisingly kind eyes. I began to ask more about life, about literature.”
“The horror of the exam resulted in a very humane and sincere conversation for me. My whole fate here, in this conversation, probably, was decided. True, there was still a selection committee, which, apparently, was also amazed at who Mikhail Ilyich was recruiting.
The chairman of the commission ironically asked:
Do you know Belinsky?
- Yes talking.
– Where does he live now?
Everyone in the committee was silent.
Vissarion Grigorievich? He died, - I say, and began to prove unnecessarily ardently that Belinsky "died". Romm was silent all this time and listened. The same infinitely kind eyes were looking at me. I was lucky to find smart and kind people.”
Shukshin filmed as a student coursework according to his script, he acted and directed. As a student, he received his first major film role - the soldier Fyodor in Marlen Tsukhiev's film "Two Fyodors" (1959). His last role was Lopakhin in Sergei Bondarchuk's film "They Fought for the Motherland" (1974). The first directorial work in the cinema is the film “Such a guy lives” (1964). The last one is “Kalina Krasnaya” (1973). The first story to appear in print was Two in a Cart (1958). The first book is a collection of short stories “Rural Residents” (1964).
Vasily Makarovich Shukshin died on the night of October 2, 1974 from a heart attack in the cabin of the ship, which served as a floating hotel for the participants in the filming of the film “They Fought for the Motherland”. In 2002, Shukshin's admirers saved the old ship from scrapping, repaired it and gave it a name - "Vasily Shukshin".
I want to read Leonid Popov's poems. It seems to me that the position of the poet in the main thing has something in common with the life line of the writer V. Shukshin:
Late: learning to "sing - dance",
Scuffing your soles in a hot circle.
It's a shame: to distribute bows for the future,
Passionately fall in love with the metropolitan blizzard.
To believe in a shake of the official hand,
Honor to pay for strained mercy,
Time: to sum up your debts,
Fortunately, there are enough of them.
Time: remember past sins,
So that in vain the soul is not proud.
To keep your head from spinning.
Time: the last to rake out the copper,
But to the penny for everything to pay
And die before dawn
To be born free at dawn!
And now we will talk about the problems that the writer poses to readers.
3.2. The problem of the city and the countryside in the work of Shukshin.
The collision characteristic of Shukshin's stories - the clash of "urban" and "village" - not so much reveals social contradictions, but reveals the conflicting relationship between dreams and reality in life " little man". The study of these relations is the content of many of the writer's works.
The Russian person in Shukshin's image is a searching person, asking life unexpected, strange questions, loving to be surprised and surprised. He does not like hierarchy - that conditional worldly "table of ranks", according to which there are "famous" heroes and there are "modest" workers. Opposing this hierarchy, Shukshin's hero can be touchingly naive, as in the story "Freak", an incredible inventor, as in "Mil pardon, madam!", Or an aggressive debater, as in the story "Cut off". Such qualities as obedience and humility are rarely present in Shukshin's characters. Quite the opposite: they
stubbornness, self-will, dislike for insipid existence, resistance to distilled sanity are characteristic. They cannot live without "leaning out".
3.3. Analysis of works.
Some critics believe that the writer is characterized by some social narrowness. He constantly wrote about the countryside and villagers, but he had a negative attitude towards the city and townspeople.
Do you agree with this opinion?
Let's talk about the heroes of the story "Villagers". What actions do the characters perform and how does the author treat them?
The writer sympathizes with them.
Vasily Knyazev in the story "The Freak" goes to the city to visit his brother, where he encountered the anger and envy of his brother's wife, who also once came from the village. Do you think it was the city that made her bad?
Prove your point.
“Cut off” is one of the brightest and deepest stories of Shukshin.
The central character of the story, Gleb Kapustin, has a “fiery passion” - to “cut off”, “settle down” people from the village who have achieved success in life in the city.
Shown here is a village man and a city dweller. How do village men treat them? Which of the characters do you like?
The main thing for Shukshin is not where a person lives, but how he lives and what kind of person he is. The main thing is to have the courage to speak the truth. And Shukshin had it.
I'll give you an example. We see something bad in the life around us - and habitually repeat: “remnants of the past in the minds of people”, “the pernicious influence of the West”. And Shukshin had the courage to face life. And from the pages of the story “Resentment” came the woeful cry of Sashka Ermolaev “How long will we ourselves help rudeness .. After all, we ourselves have bred boors, ourselves! No one brought them to us, they didn’t drop them on parachutes ..”
V. Shukshin is not afraid of the sharp, unexpected actions of the characters. He likes the rebels because these people defend human dignity in their absurd way.
The writer hated self-satisfied, well-fed, reassured people, he wanted to disturb our souls by showing the truth, and they demanded beautiful heroes and noble gestures from him. V. Shukshin wrote: “Like anyone doing something in art, I also have “intimate” relationships with readers and viewers - letters. They write. Require. They need a handsome hero. They are scolded for the rudeness of the heroes, for their drinking, etc. What do they require? For me to invent. He, the devil, has a neighbor who lives behind the wall, who is rude, drinks on weekends (sometimes noisy), sometimes quarrels with his wife .. He does not believe in him, he denies, but he will believe if I lie from three boxes: he will be grateful, cry at the TV, touched, and go to bed with a calm soul. V. Shukshin wanted to wake up our conscience, so that they would think about what is happening to us.
Comfortable in art
be a sweet bun
french,
but you won't eat
no cripples
no orphans.
Shukshin was a humpback
With red viburnum
bite,
The black one
Without which the people are inconceivable ...
When we got up
On the heavy leaven of a peasant,
We are drawn to nature
To Yesenin's pure verses.
We can't deal with lies
You can’t get along in comfort,
And a heart like a falcon
Like a tied Razin Stepan.
E. Yevtushenko. "In memory of Shukshin".
His wonderful films went around the country: “Such a guy lives,”
“Stoves-benches”, “Kalina red”. His heroes looked at us from the pages of magazines: drivers, collective farmers, saddlers, ferrymen, watchmen. The country recognized itself in his heroes and fell in love with Shukshin.
Shukshin always writes about his mother with great love, tenderness, gratitude, and at the same time with a feeling of some kind of guilt.
Let's remember the scene of Egor Prokudin's meeting with his mother (“Kalina Krasnaya”)., Comment on it. We note that Yegor's mother is not a professional actress, but a simple village woman.
- Why did the director make such a decision - to approve an unprofessional actress for the role of mother?
What did Shukshin want to say in Red Kalina when he killed Yegor Prokudin? That it makes no sense for thieves to rush to a normal life, right?
(It seems to me that V. Sh. wanted to say that you have to pay for everything in life. To have the opportunity to respect yourself and feel the respect of people for yourself - sometimes it takes a whole life. More than one field needs to be plowed, more than one act needs to be performed. And Egor understood this.)
During the life of Shukshin, few people thought about the price paid for his art. We think about it only now that he is gone. In the notes on the margins of his drafts there are such lines: “Never, not once in my life have I allowed to live relaxed, falling apart. Always energized and collected. Both good and bad - I start to twitch, I sleep with clenched fists. .This can end badly, I can crack from stress.”
. And now we will talk about Shukshin's peculiar approach to the problem of a good hero.
Have you noticed that he doesn't have a goodie? Is he needed?
Shukshin himself wrote about this with humor: “Let's say a young man came out of the cinema and stopped in thought: he didn’t understand who to take an example from, who to be like. Whom to be like? To myself. You won't be like anyone else." V. Shukshin invites us to think about ourselves.
Let's stop on the story "Energetic people". What characters does the author show us? Why does he call them that? What is the basis of their relationship? ("You - to me, I - to you").
I want to read a poem relating to our dispute and to life position Shukshin.
Everyone chooses for himself
Woman, religion, road.
Serve the devil or the prophet -
Everyone chooses for himself.
Everyone chooses for themselves
Word for love or prayer.
Dueling sword, battle sword
Everyone chooses for themselves.
Everyone chooses for themselves.
Shield and armor. Staff and patches.
The measure of final retribution.
Everyone chooses for themselves.
I choose as well as I can.
I have no complaints against anyone.
Everyone chooses for himself.
(Yu. Levitansky)
. From the working notes of Shukshin.
“Now I will say beautifully: if you want to be a master, dip your pen into the truth. Nothing else surprises you.”
“Kind, kind .. This medal is worn through one. Good is a good deed, it is difficult, it is not easy. Do not boast of kindness, do not at least do evil!”
“When we feel bad, we think: “But somewhere, someone feels good.” When we feel good, we rarely think: "Somewhere someone is bad."
“I am a son, I am a brother, I am a father. The heart grew like meat to life. It’s hard, it hurts to leave.”
3.4. Essay composition: "What the heroes of Shukshin's stories taught me."
4. Systematization and generalization of the acquired knowledge.
Final word from the teacher.
There is no longer a writer with us - Vasily Shukshin. But his books, his thoughts remained. And each of his stories makes us think about the serious problems of our time, about life, about human behavior, his actions.
And again the words of the writer are recalled: “The Russian people in their history selected, preserved, elevated to a degree of respect such human qualities that are not subject to revision: honesty, diligence, conscientiousness, kindness. Believe that everything was not in vain: our songs, our fairy tales, our incredible severity of victory, our suffering - do not give it all away for sniffing tobacco. We knew how to live. Remember this. Be human".
5. Summing up the lesson.
6. Homework.
The artistic world of V.M. Shukshina is quite rich, but if you think about it, you can draw a parallel between the themes and ideas of his stories. Shukshin is a true and zealous patriot, and therefore his stories are united by an undisguised and all-encompassing love for the motherland, the motherland in all its manifestations, whether it is the country as a whole (when the characters strive to be useful to it) or the so-called small motherland - a village, a village (Shukshin himself comes from a small village, and, probably, therefore, his heroes, being far from their home, wish with all their hearts to return there as soon as possible).
It is impossible not to notice that in the stories, for the most part, villagers are described. There are, apparently, two explanations for this: first, as already mentioned, their way of life is known and loved by the writer since childhood; secondly, he probably wanted to correct the prevailing image of a dim-witted, incapable of thinking on serious issues, and even a somewhat obtuse villager. In Shukshin's stories, a Russian person is always searching, unable to "vegetate", asking difficult questions of life and himself obtaining answers to them. Everyone is a person, not just a face from the crowd. His problem is that he cannot open up completely, something always interferes with him, but in the end he finds an outlet for his energy in something else.
For example, the hero of the story "Mil's pardon, madam!", tormented internally by the fact that, in his opinion, he did not benefit his homeland, and also lost two fingers in a completely stupid way, becomes a grandiose inventor.
Shukshin affects and very serious problem of its time: the gap between the city and the countryside, the extinction of the latter due to the fact that young people seek to find themselves in the turbulent city life. The village meets this fact in different ways: someone (mostly old parents) is upset about the departure of their relatives and the distance separating them, someone (neighbors, friends) out of envy, or, maybe, being also upset, in every possible way " denigrates the city, and with it its inhabitants. Such is Gleb - the hero of the story "Cut off". He has an obsessive desire to somehow take revenge on the townspeople for the fact that they have achieved success. And he "cuts off", ridicules visitors, and does it masterfully, thereby trying to rise in his own eyes and in the eyes of those around him. To some extent, he is also a patriot: he does not want the village to be inferior to the city in any way.
Many of Shukshin's heroes are somewhat "eccentric", which, nevertheless, does not speak of their shortcomings or inferiority, but, on the contrary, inspires some kind of charm in their image. Just such "freaks" are the most harmonious, independent people of the writer. Vasyatka Knyazev refuses to live a boring life and therefore wants to decorate his life and everything around. He is full of strength and desire to do good to people, to please them, even if they do not understand it.
And yet, all the heroes of Shukshin lack something, and this something is happiness. The search for happiness is one of the main themes of the works of this writer.
Shukshin's stories are so natural and harmonious that it seems that he simply wrote without thinking about the form, composition, artistic means. However, it is not. Stories have a certain feature through which the writer also partly expresses his opinion. According to Shukshin himself, the story should "unravel the soul", console, reassure, teach the reader something. And for this, the writer did not clothe his works in a strict form. In fact, there is no composition in his stories.
The author himself singled out three types of story: story-fate, story-character, story-confession. Indeed, he can most often meet some specific situation (and then he is limited to only a cursory mention of the hero, his life) or a story about a separate type of psychology (and here any situation is necessarily described, because it is the main way of revealing character's character). The events in the stories are real, and this is the main thing: the fuller and brighter the characters are if they are shown in an ordinary setting. Very often Shukshin begins the story with a direct reference to the fact; this feature, by the way, is inherent in all storytellers who do not count on striking the audience, but simply recounting a specific event.
In relation to the stories of Shukshin, one cannot speak of an outset or a climax. They begin mostly right with the climax, an interesting, turning point in a person's life, and end with an "ellipsis". The story abruptly ends, and, in general, it is not clear what will happen after, and this makes it even a little creepy.
Thus, the circle of the main themes of Shukshin’s stories consists in the following concepts: home, work, homeland, family (it’s not for nothing that the writer has so many stories on everyday, family topics), truth (lie is organically unusual for most heroes, while others, if they lie, then either they dreamers, or circumstances so require). It is worth noting that Shukshin does not have ideal heroes as such. He is demanding of his heroes, whose prototypes he found in real life around you all the time; probably, therefore, it is impossible to call with certainty every act of any hero right. But Shukshin did not achieve this. He portrayed life in all its manifestations, without embellishment, one that is usually not noticed. And the main idea that he wanted to convey to us was, most likely, the following: life flows forward, it cannot be stopped, and therefore everything that should happen will definitely happen.
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Reading the mature stories of Shukshin and returning from them to his early works, one can see how the writer more and more persistently, more and more stubbornly searched for sources of wisdom, he searched for them in the real, everyday and historical experience of the people, in the fate of our old people. I recall the old saddler Antip with his wordless love for the balalaika, with his eternal need for beauty, which neither hunger nor need could suppress (“Alone”). I recall the chairman of the collective farm, Matvey Ryazantsev, who lived a decent working life and yet regrets some unfelt joys and sorrows (“thoughts”). Later they were joined by the old woman Kandaurova, the heroine of the story “Letter”. This story took a special place in the last cycles of Shukshin. It seems to concentrate and clarify the writer's thoughts about the connection between the impulses of the "mass man" to some other, meaningful life with the hard-won wisdom of folk experience. The letter of the old woman Kandaurova to her daughter and son-in-law is the result of a great peasant life, and this teaching is teaching in its ancient sublime sense.
What does old Kuzmovna teach, broken by hard work, tireless worries about daily bread, sorrows and misfortunes, of which a Russian peasant woman has endured a lot in her lifetime? And this is what: “Well, work is work, but a person is not made of stone. Yes, if you caress him, he will do three times more. Any animal loves affection, and a person - even more so ... ”And one dream, one desire is repeated three times:“ You live and rejoice, but rejoice others ... ”,“ She is my daughter, my soul hurts, I also want her rejoiced in this world, ”and again -“ At least I rejoice at you. So this is what the old woman Kandaurova teaches her heirs. She teaches them the ability to feel the beauty of life, the ability to rejoice and please others, she teaches them spiritual sensitivity and affection. These are the highest values of life, to which she came through a difficult experience. The wisdom of the old woman Kandaurova, passing on the precious experience of a great and difficult life, the justice of her moral teachings to her descendants, is aesthetically consistent with the spaciousness and peace in the world around her: “It was getting dark. Somewhere they played the harmonica…”, “The accordion kept playing, played well. And an unfamiliar female voice sang along with her”; “A warm, well-fed spirit emanated from the gardens, and the dust smelled of warm, cooling down.” “Lord, thought the old woman, it’s good, it’s good on earth, it’s good.”
And the space is understood, and its beauty is accepted, and there is wisdom, and peace, it seems, comes to the soul. But in Shukshin's story, peace, if it is achieved, is for a moment. It is replaced by new worries. The epic balance here is unstable in principle. And the point is not even that wisdom does not turn away from the consciousness of the limiting nature of human life. It is this contradiction of being, the stumbling block of existentialism, that is “removed” by wisdom. “One more time, everything from the very beginning ...” - the old woman Kandaurova thinks. And then he pulls himself up: “Look, I'm going to live once!” They saw her!” Here is bright sadness, and a smile, and the courage of a person who soberly looks into the face of the universe.
Shukshin's mothers have an alloy of wisdom and courage. The mother in his stories is the highest image of the “human world”. And if the epic image of the universe, which creates the space-time horizon of the story, acts as an indirect measure of the choice made by the hero, then the image of the mother: her fate, her word, her grief and tears - forms the ethical center of the story, where all the horizons of the universe, mediating the values of being, are drawn together. where even the laws of life and death are subdued by the moral sense of the mother, who herself bestows life and protects from death by herself.
In the story “At the Cemetery” there is an apocryphal image of the “earthly Mother of God”. But this can also be called the mother of the unlucky Vitka Borzenkov (“Mother’s Heart”), and the mother of Vanka Teplyashin, the hero of the story of the same name, and the grandmother Kandaurova, and the mother of the “long-faced” Ivan (“In profile and full face”) - all-all Shukshin mothers.
All of them are earthly mothers, sprouted by life, everyday life, everyday life, all of them are connected with a great national history with every turn of their fate (the story is necessarily introduced by Shukshin into stories about mothers). And from the earth, from everyday and historical experience comes that very absolute "God's" moral measure that they carry within themselves. But "earthly mothers of god” Shukshin is completely devoid of peace. In the light of their wise understanding of the need and possibility of harmony in the “human world”, they cannot help but be filled with anxiety for their children, who live unwisely and disharmony: “... it’s a pity for you, it’s so pity that I’m talking - but every word in my heart gives”, - this is Vitka's mother who does not address Vitka, but to another person, to a policeman, but he is also “son” for her (“Mother's Heart”). It turns out that epic wisdom, which is rewarded with peace, explodes its own peace as soon as it reaches it. In the images of mothers, in their wise and courageous attitude to life, in their anxiety, in their deeds to save their children, the "feedback" between the epic and dramatic beginnings in Shukshin's story was manifested with particular clarity. His epic is disturbed by the drama, turns to it, tries to help it resolve itself.
The interaction of epic and drama, their steady disequilibrium with constant swings from one pole to the other, is the most essential feature of the genre content of Shukshin's story. This is by no means a “small-format epic”, as I. Zolotussky believes, but it is not quite a “small-format drama”, as M. Vanyashova thinks. The essence of Shukshin's story is the fundamental indissolubility of comedy and tragedy, drama and epic, which, moreover, exist in the aura of lyrical empathy of the author-narrator. That is why it is extremely difficult to designate this genre structure with just one short term; one has to manage with a descriptive name - “Shukshin's story”. One thing is absolutely clear: the genre form of Shukshin's story carries the philosophical concept of man and the world. Philosophy is given here in the very structure of the artistic world: all its narrative, plot, space-time, associative plans constructively embody the relationship of man directly with the universe.
“Is this my homeland, where I was born and raised? My. I say this with a feeling of deep rightness, for all my life I have carried my homeland in my soul, I love it, I live by it, it gives me strength when it happens difficult and bitter (...). I do not pronounce this right to myself, I do not apologize for it to my countrymen - it is mine, it is me. It was from this position that Vasily Shukshin was able to feel the shift of time earlier than others and, most importantly, to catch this historical shift in the spiritual world of his hero, an ordinary person, a bearer of mass consciousness. In this hero, Shukshin discovered the sharpest inner drama, which was evidence of a “crisis of faith” of the so-called “simple Soviet man”: he, a lubok character of official propaganda, an example of indestructible integrity and “correctness”, experienced the mortal torment of lack of spirituality, not compensated by any material wealth, he felt the paramount importance in his life of others - eternal values, existential guidelines. In Shukshin's stories, the “mass man” put himself in front of the universe, he demanded from himself responsible knowledge of the meaning of his life, its values. The search for an answer is painful and difficult. The replacement of genuine spiritual values with consumer pseudo-values, moral "incompetence" turns into a farce or a tragedy, or even both at the same time.
But in his dramatic reflection and choice, Shukshin's hero is drawn to epic wholeness: to action in full accordance with the eternal laws of life, with the moral ideals of the people. He wants to understand this wholeness, to enter into it quite consciously. Behind the pulsation of drama and epic in Shukshin's stories is an understanding of human life as a restless search for peace, as a thirst for harmony, disturbed by the consciousness of disharmony and a frantic desire to defeat it.
March 09 2011
Vasily Makarovich Shukshin lived only forty-five years, but how much he managed to do would be enough for many lives, he has more than one hundred and twenty stories alone. In Shukshin, the whole is important, all his heroes and characters and - “not in general confirmed terms, but in their nationally poured out form that strikes us with liveliness, so we say:“ Yes, this seems to be familiar ... ". Here, for example, the hero of the story "Master" - Semka Rys - "a goofball, but an unsurpassed carpenter." He says that "everything in the world is dumbfounded" to him, and he squanders his " horsepower»For anything - to yell, to scoff, to naughty somewhere - a sweet thing. True, he didn’t take it in his mouth for a year and a half, then he got bored and again began to give in.
Pretty ugly portrait. But, after reading the story, we give all our sympathy to this person. How did Semka Rys take us to the quick, with what qualities did he bind us to himself? Maybe the fact that he is an excellent carpenter, a craftsman, what to look for? Yes, perhaps not only this. Semka sees and appreciates the surrounding beauty. That is why I decided to repair the old temple, I did not want to calmly look at how the creation of the old master was dying. The Talitsky church had already hurt him to the core. Semka looks at the “ideas” of the old master and wonders, tries to unravel the meaning of this or that method of masonry, the “secret of the butt”. “Semka sat down on the step of the altar, began to think: why this stone butt? And he explained to himself this way: the master removed the right angles - he destroyed the square. Since the church is small, it was necessary to create a feeling of freedom inside, and nothing depresses, oppresses the soul like a square cage.
Semka becomes both joyful and terrifying that he guessed the secret of the ancient master, came into contact with the beautiful, realized that he would be able to revive the former beauty of the temple. And yes, there are very few things. "Before the cold weather can be handled." But in the region they explained to Semka that the temple is not an original building, but repeats the Vladimir, earlier temples. He didn't achieve anything, he didn't do anything. “Since then, he has not stuttered about the Talitsky church, never went to her, and if he happened to drive past, he turned his back on the church.”
It would seem that only sympathize with Semka, pity him. But another thought arises. Why only Semka wanted to revive beauty? The intention to repair the church, although no one asks him about it, his ability to forget both the “green serpent” and other “pleasures” for the sake of a big interesting business is already very expensive in itself and reveals high moral qualities in Semka. Opening the soul and heart of the hero, he shows the unspent goodness and warmth that the master is ready to pour into work, but no one needs it. So he rebels, he brawls, protesting against human indifference and callousness. “Well, what if the Talitsky church is a copy. Beauty has not diminished from this. ” And we completely agree with Semka. After all, the creation of an ancient master pleased many generations of people! Why does it have to end with us?
It would seem that a small story, and what a deep meaning is put into it by the author, truly - the spool is small, but expensive. The ambiguity of the story is also striking. Shukshin not only criticizes soulless and callous officials, but hopes for ordinary people like Semka, able to see and marvel at the beauty of the creations of human hands, try to preserve this beauty for posterity.
In Shukshin's stories, the reader finds consonance with many of his thoughts. The stories describe everyday events. Such stories could happen to almost anyone. However, it is in this routine that the deepest meaning lurks. V. Shukshin is able to masterfully notice individual details that turn out to be very, very important for a person. Also, the author kindly chuckles at his characters, making them sometimes funny and ridiculous. But his humor is warm and human. He does not condemn or despise his heroes, on the contrary, he sincerely loves them and worries about them in every possible way.
On simple examples, Shukshin shows all the tragedy and bitterness human life. For example, the short story "Raskas" (there is no mistake - Shukshin has just such a name) at first makes the reader smile at the unlucky Ivan Petin. But then it becomes painfully pitiful for a simple man-chauffeur, from whom a young beautiful wife left. Ivan Petin cannot cope with his grief. He decides to write a story about everything that happened and send it to the newspaper. This act testifies that what happened painfully wounded Ivan, made him suffer. He is alone and unsociable. It may seem comical, but the reader understands that a fair amount of tragedy lies in this comicality.
The story that Ivan Petin is trying to retell on paper seems ridiculous and ridiculous. The driver is not familiar with spelling, does not know the elementary rules of spelling. Therefore, in each he makes mistakes. He tries to express his pain, but in this case, ridiculous and funny phrases are obtained. The editor, who begins to read Ivan Petin's story, laughs. It is difficult for him to understand that a frustrated and unhappy person is standing in front of him.
Indeed, Shukshin looks at his heroes with a fair amount of irony. But he does not sneer at their feelings and thoughts. Each person may seem ridiculous to others, but this is not at all a reason to give him a derogatory assessment. Each person is capable of the manifestation of human feelings - love, jealousy, hope for.
Sometimes on the pages of Shukshin's works, the very hope for happiness appears as something comical and even somewhat strange. For example, in the story "Unscrupulous", the widowed old man Glukhov is burdened by a lonely life and wants to invite the old woman Otavina to his house. He paints in his dreams pictures of quiet home comfort, when there is at least one living soul nearby. In essence, there is nothing wrong and reprehensible in the dreams of an old man. A person should not live alone. Otherwise, he turns into the most miserable creature in the world.
Perhaps the old man's idea would have come true. But to his misfortune, he decided not to act on his own, but to ask the old woman Malysheva for help. Once upon a time, he was in love with her. Since then, a lot of water has flowed under the bridge, and they have remained good friends. The old woman Malysheva presented the old man's idea in such a light that both Glukhov and Otavina could not even remember this idea without a shudder.
At first glance, the situation may seem ridiculous. Indeed, Shukshin, with a warm smile, talks about the old man's intention to marry. But at the same time, a tragic moment is clearly felt in the story. Two elderly people who have lived and experienced a lot are quite worthy to find warmth and home comfort in their old age. But ruthless condemnation from the outside deprives them of any self-confidence. The tragedy of the situation is that people have stopped listening to themselves, paying attention to the evil and unfriendly environment. In the story, the role of this environment is played by the old woman Malysheva. She considers it her duty to offend others, depriving them of all hope for peace and happiness. The protagonist the story "Psychopath" Sergei Ivanovich Kudryashov causes a smile. He is so principled and irreconcilable that it seems funny to others. When confronted by a nurse, his indignation turns into an angry speech. He is outraged by the inability of the nurse to give injections. And he tries to express his thoughts on this matter. He is a little funny, but at the same time there is some truth in his words: “I am not arguing with you, I really want to understand: is it really possible to live like this? After all, a person does not know his business, nor ... he doesn’t even want to know, he doesn’t love, and he sits - he frowns importantly.
Sergei Ivanovich is outraged by the indifference towards him on the part of the doctor and nurse. Maybe he expresses his claims too emotionally and comically. But he wants to convey his thoughts to those around him. He himself works as a librarian and is very passionate about his work. He searches for and redeems old books and magazines from the population. He believes that every person should do their job well enough. Otherwise, it makes no sense to get down to business at all. It is no coincidence that at the end of the story the doctor nevertheless shows interest in the personality of Sergei Ivanovich himself. This raises the hope that the "psychopath" will still be heard and understood by others.
In essence, it does not matter at all how a person finds joy for himself. Whether it will be buying elegant boots for your wife or buying an unnecessary microscope. And let from the outside it seems funny and strange. In fact, under the influence of such situations, a person understands himself better.
In many of his works, Shukshin, watching the characters with a warm smile, wants to talk about their search for the beautiful, the sublime. This is a kind of search for the meaning of life. In fact, not only does a person vegetate, one must also take care of striving for the lofty, the beautiful. It is not easy to find the goal you are striving for. But when this happens, the whole life changes for the better.
Need a cheat sheet? Then save it - "What I liked in the stories of V. Shukshin. Literary writings!