Roman matrenin yard. Ideological concept, problematics, genre of the story A

The analysis of the story "Matrenin Dvor" includes a description of its characters, a summary, the history of creation, the disclosure of the main idea and problems that the author of the work raised.

According to Solzhenitsyn, the story is based on real events, "completely autobiographical."

In the center of the narrative is a picture of the life of the Russian village in the 50s. The twentieth century, the problem of the village, reasoning on the topic of the main human values, questions of kindness, justice and compassion, the problem of labor, the ability to go to the rescue of one's neighbor who found himself in a difficult situation. All these qualities are possessed by a righteous person, without whom "the village is not worth it."

The history of the creation of "Matryonin Dvor"

Initially, the title of the story sounded like this: "A village does not stand without a righteous man." The final version was proposed at an editorial discussion in 1962 by Alexander Tvardovsky. The writer noted that the meaning of the title should not be moralistic. In response, Solzhenitsyn good-naturedly concluded that he was unlucky with names.

Alexander Isaevich Solzhenitsyn (1918 - 2008)

Work on the story was carried out over several months - from July to December 1959. Solzhenitsyn wrote it in 1961.

In January 1962, during the first editorial discussion, Tvardovsky convinced the author, and at the same time himself, that the work should not be published. Nevertheless, he asked to leave the manuscript in the editorial office. As a result, the story saw the light of day in 1963 in Novy Mir.

It is noteworthy that the life and death of Matryona Vasilievna Zakharova are reflected in this work as truthfully as possible - exactly as it was in reality. The real name of the village is Miltsevo, it is located in the Kuplovsky district of the Vladimir region.

Critics warmly welcomed the work of the author, highly appreciating its artistic value. The essence of Solzhenitsyn's work was very accurately described by A. Tvardovsky: an uneducated, simple woman, an ordinary worker, an old peasant woman ... how can such a person attract so much attention and curiosity?

Maybe because her inner world is very rich and sublime, endowed with the best human qualities, and against its background everything worldly, material, empty fades. For these words Solzhenitsyn was very grateful to Tvardovsky. In a letter to him, the author noted the importance of his words for himself, and also pointed out the depth of his writer's view, from which the main idea of ​​\u200b\u200bthe work was not hidden - the story of a loving and suffering woman.

Genre and idea of ​​the work of A. I. Solzhenitsyn

"Matryona Dvor" refers to the genre of the story. This is a narrative epic genre, the main features of which are the small volume and unity of the event.

Solzhenitsyn's work tells about the unfairly cruel fate of an ordinary person, about the life of villagers, about the Soviet order of the 50s of the last century, when after the death of Stalin the orphaned Russian people did not understand how to live on.

The narration is conducted on behalf of Ignatich, who throughout the entire plot, as it seems to us, acts only as an abstract observer.

Description and characteristics of the main characters

The list of characters in the story is not numerous, it comes down to several characters.

Matrena Grigorieva- an elderly woman, a peasant woman who worked all her life on a collective farm and who was released from heavy manual labor due to a serious illness.

She always tried to help people, even strangers. When the narrator comes to her to rent a place, the author notes the modesty and disinterestedness of this woman.

Matryona never deliberately looked for a tenant, did not seek to cash in on it. All her property consisted of flowers, an old cat and a goat. Matrona's dedication knows no bounds. Even her marital union with the groom's brother is explained by the desire to help. Since their mother died, there was no one to do housework, then Matryona took on this burden.

The peasant woman had six children, but they all died at an early age. Therefore, the woman took up the education of Kira, the youngest daughter of Thaddeus. Matryona worked from early morning until late at night, but she never showed her displeasure to anyone, did not complain about fatigue, did not grumble about her fate.

She was kind and responsive to everyone. She never complained, did not want to be a burden to someone. Matrena decided to give her room to the grown-up Kira, but for this it was necessary to divide the house. During the move, Thaddeus' things got stuck on the railroad, and the woman died under the wheels of the train. From that moment on, there was no person capable of selfless help.

Meanwhile, Matryona's relatives thought only about profit, about how to share the things left from her. The peasant woman was very different from the rest of the villagers. It was the same righteous man - the only one, irreplaceable and so invisible to the surrounding people.

Ignatich is the prototype of the writer. At one time, the hero was serving a link, then he was acquitted. Since then, the man set out to find a quiet corner where he could spend the rest of his life in peace and serenity, working as a simple school teacher. Ignatich found his refuge at Matrena.

The narrator is a private person who does not like excessive attention and long conversations. All this he prefers peace and quiet. Meanwhile, he managed to find a common language with Matryona, however, due to the fact that he understood people poorly, he could only comprehend the meaning of the life of a peasant woman after her death.

Thaddeus- former fiance of Matryona, brother of Yefim. In his youth, he was going to marry her, but he went into the army, and there was no news of him for three years. Then Matryona was given in marriage to Yefim. Returning, Thaddeus almost killed his brother and Matryona with an ax, but he came to his senses in time.

The hero is cruel and unrestrained. Without waiting for the death of Matryona, he began to demand from her part of the house for her daughter and her husband. Thus, it is Thaddeus who is to blame for the death of Matryona, who fell under a train while helping her family pull their house apart. He was not at the funeral.

The story is divided into three parts. The first tells about the fate of Ignatich, that he is a former prisoner and now works as a school teacher. Now he needs a quiet haven, which the kind Matryona gladly provides him.

The second part tells about the difficult events in the fate of the peasant woman, about the youth of the main character and the fact that the war took her lover from her and she had to link her fate with the unloved man, the brother of her fiancé.

In the third episode, Ignatich learns about the death of a poor peasant woman, tells about the funeral and commemoration. Relatives squeeze tears out of themselves, because circumstances require it. There is no sincerity in them, their thoughts are only occupied with how it is more profitable for themselves to divide the property of the deceased.

Problems and arguments of the work

Matrena is a person who does not require a reward for her bright deeds, she is ready for self-sacrifice for the good of another person. They do not notice it, do not appreciate it and do not try to understand it. Matryona's whole life is full of suffering, starting from her youth, when she had to join her fate with an unloved person, endure the pain of loss, ending with maturity and old age with their frequent illnesses and hard manual labor.

The meaning of the life of the heroine is in hard work, in which she forgets about all her sorrows and problems. Her joy is caring for others, helping, compassion and love for people. This is the main theme of the story.

The problem of the work is reduced to questions of morality. The fact is that in the countryside, material values ​​are placed above spiritual values, they prevail over humanity.

The complexity of Matryona's character, the sublimity of her soul is inaccessible to the understanding of the greedy people surrounding the heroine. They are driven by a thirst for hoarding and profit, which obscures their eyes and does not allow them to see the kindness, sincerity and selflessness of the peasant woman.

Matryona serves as an example of the fact that the difficulties and hardships of life temper a strong-willed person, they are unable to break him. After the death of the main character, everything that she built begins to crumble: the house is pulled apart, the remains of miserable property are divided, the yard is left to fend for itself. No one sees what a terrible loss has occurred, what a wonderful person has left this world.

The author shows the frailty of the material, teaches not to judge people by money and regalia. The true meaning lies in the moral character. It remains in our memory even after the death of the person from whom this amazing light of sincerity, love and mercy emanated.

History of creation and publication

The story began in late July - early August 1959 in the village of Chernomorsky in the west of Crimea, where Solzhenitsyn was invited by his friends in Kazakh exile, the spouses Nikolai Ivanovich and Elena Alexandrovna Zubov, who settled there in 1958. The story ended in December of that year.

Solzhenitsyn gave the story to Tvardovsky on December 26, 1961. The first discussion in the magazine took place on January 2, 1962. Tvardovsky believed that this work could not be printed. The manuscript remained in the editorial office. Upon learning that the censorship had cut out the memoirs of Veniamin Kaverin about Mikhail Zoshchenko from Novy Mir (1962, No. 12), Lydia Chukovskaya wrote in her diary on December 5, 1962:

After the success of the story "One Day in the Life of Ivan Denisovich", Tvardovsky decided to re-editorial discussion and prepare the story for publication. In those days, Tvardovsky wrote in his diary:

By today's arrival, Solzhenitsyn had re-read his "Righteous" since five in the morning. My God, the writer. No jokes. A writer who is solely concerned with expressing what lies "at the base" of his mind and heart. Not a shadow of the desire to "hit the bull's-eye", please, facilitate the task of the editor or critic - do whatever you want, and get out, but I won't get off my own. Unless I can go further.

The name "Matryonin Dvor" was proposed by Alexander Tvardovsky before publication and approved during an editorial discussion on November 26, 1962:

“The name should not be so instructive,” Alexander Trifonovich argued. “Yes, I’m not lucky with your names,” Solzhenitsyn responded, however quite good-naturedly.

Unlike Solzhenitsyn's first published work, One Day in the Life of Ivan Denisovich, which was generally positively received by critics, Matryonin Dvor caused a wave of controversy and discussion in the Soviet press. The position of the author in the story was at the center of a critical discussion on the pages of Literary Russia in the winter of 1964. It began with an article by a young writer L. Zhukhovitsky “I am looking for a co-author!”.

In 1989, Matryonin Dvor became the first publication of Alexander Solzhenitsyn's texts in the USSR after many years of silence. The story was published in two issues of the Ogonyok magazine (1989, No. 23, 24) with a huge circulation of more than 3 million copies. Solzhenitsyn declared the publication "pirated", as it was carried out without his consent.

Plot

In the summer of 1956, “one hundred and eighty-fourth kilometer from Moscow along the branch that goes to Murom and Kazan”, a passenger gets off the train. This is a narrator whose fate is reminiscent of the fate of Solzhenitsyn himself (he fought, but from the front he “delayed with the return of ten years”, that is, he spent time in the camp and was in exile, which is also evidenced by the fact that when the narrator got a job, every letter in his documents was "felt"). He dreams of working as a teacher in the depths of Russia, away from urban civilization. But living in the village with the wonderful name Vysokoye Pole did not work out: “Alas, they did not bake bread there. They didn't sell anything edible. The whole village dragged food in bags from the regional city. And then he is transferred to a village with a monstrous name for his hearing Peat product. However, it turns out that “not everything is around peat extraction” and there are also villages with the names Chaslitsy, Ovintsy, Spudni, Shevertni, Shestimirovo ...

This reconciles the narrator with his share: “A wind of calm drew me from these names. They promised me horse-drawn Russia.” In one of the villages called Talnovo, he settles. The mistress of the hut in which the narrator lodges is called Matryona Vasilievna Grigoryeva, or simply Matryona.

The fate of Matryona, about which she does not immediately, not considering it interesting for a "cultured" person, sometimes in the evenings tells the guest, fascinates and at the same time stuns him. He sees a special meaning in her fate, which is not noticed by fellow villagers and relatives of Matryona. The husband went missing at the beginning of the war. He loved Matryona and did not beat her like village husbands beat their wives. But Matryona herself hardly loved him. She was supposed to marry her husband's older brother, Thaddeus. However, he went to the front in the First World War and disappeared. Matryona was waiting for him, but in the end, at the insistence of the Thaddeus family, she married her younger brother, Yefim. And suddenly Thaddeus returned, who was in Hungarian captivity. According to him, he did not hack Matryona and her husband with an ax just because Yefim is his brother. Thaddeus loved Matryona so much that he found a new bride for himself with the same name. The “second Matryona” gave birth to Thaddeus six children, but the “first Matryona” had all the children from Yefim (also six) died before they even lived for three months. The whole village decided that Matryona was “spoiled”, and she herself believed in it. Then she took up the daughter of the “second Matryona” - Kira, raised her for ten years, until she got married and left for the village of Cherusti.

Matryona lived all her life as if not for herself. She constantly worked for someone: for a collective farm, for neighbors, while doing “peasant” work, and never asked for money for it. There is a huge inner strength in Matryona. For example, she is able to stop a rushing horse on the run, which men cannot stop. Gradually, the narrator realizes that Matryona, who gives herself to others without a trace, and “... there is ... the same righteous man, without whom ... the village does not stand. Neither city. Not all our land." But this discovery hardly pleases him. If Russia rests only on selfless old women, what will happen to her next?

Hence the absurdly tragic end of the story. Matryona dies helping Thaddeus and his sons to drag part of their own hut, bequeathed to Kira, across the railroad on a sleigh. Thaddeus did not want to wait for the death of Matryona and decided to take the inheritance for the young during her lifetime. Thus, he unwittingly provoked her death. When relatives bury Matryona, they cry more out of duty than from the heart, and think only about the final division of Matryona's property. Thaddeus doesn't even come to the wake.

Characters and prototypes

Notes

Literature

• A. Solzhenitsyn. Matryonin's yard and other stories. Texts of stories on the official website of Alexander Solzhenitsyn
• Zhukhovitsky L. Looking for a co-author! // Literary Russia. - 1964. - 1 Jan.
• Brovman Gr. Is it necessary to be a co-author? // Literary Russia. - 1964. - 1 Jan.
• Poltoratsky V. "Matryonin Dvor" and its environs // Izvestia. - 1963. - March 29
• Sergovantsev N. The tragedy of loneliness and "continuous life" // October. - 1963. - No. 4. - S. 205.
• Ivanova L. Must be a citizen // Lit. gas. - 1963. - May 14
• Meshkov Yu. Alexander Solzhenitsyn: Personality. Creation. Time. - Yekaterinburg, 1993
• Suprunenko P. Recognition... oblivion... fate... The experience of the reader's study of A. Solzhenitsyn's work. - Pyatigorsk, 1994
• Chalmaev V. Alexander Solzhenitsyn: Life and work. - M., 1994.
• Kuzmin V. V. Poetics of stories by A. I. Solzhenitsyn. Monograph. - Tver: TVGU, 1998. No ISBN.

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Matryonin's yard is the second of Alexander Solzhenitsyn's stories published in the Novy Mir magazine. Andrey Sinyavsky called this work the “fundamental thing” of all Russian “village” literature. The author's title of the story “The village is not worth it ... ... Wikipedia

Wikipedia has articles about other people with that surname, see Solzhenitsyn. Alexander Solzhenitsyn ... Wikipedia

The story “Matryonin Dvor” was written by Solzhenitsyn in 1959. The first title of the story is “There is no village without a righteous man” (Russian proverb). The final version of the title was invented by Tvardovsky, who at that time was the editor of the Novy Mir magazine, where the story was published in No. 1 for 1963. At the insistence of the editors, the beginning of the story was changed and the events were attributed not to 1956, but to 1953, that is, to the pre-Khrushchev era. This is a nod to Khrushchev, thanks to whose permission Solzhenitsyn's first story, One Day in the Life of Ivan Denisovich (1962), was published.

The image of the narrator in the work "Matryonin Dvor" is autobiographical. After Stalin's death, Solzhenitsyn was rehabilitated, indeed he lived in the village of Miltsevo (Talnovo in the story) and rented a corner from Matryona Vasilievna Zakharova (Grigorieva in the story). Solzhenitsyn very accurately conveyed not only the details of the life of Marena's prototype, but also the features of life and even the local dialect of the village.

Literary direction and genre

Solzhenitsyn developed the Tolstoyan tradition of Russian prose in a realistic direction. The story combines the features of an artistic essay, the story itself and elements of life. The life of the Russian village is reflected so objectively and diversely that the work approaches the genre of "novel type story". In this genre, the character of the hero is shown not only at a turning point in his development, but also the history of the character, the stages of his formation are covered. The fate of the hero reflects the fate of the entire era and the country (as Solzhenitsyn says, the land).

Issues

Moral issues are at the center of the story. Are many human lives worth the occupied area or the decision dictated by human greed not to make a second trip by a tractor? Material values ​​among the people are valued higher than the person himself. Thaddeus lost his son and the once beloved woman, his son-in-law is threatened with prison, and his daughter is inconsolable. But the hero thinks about how to save the logs that the workers at the crossing did not have time to burn.

Mystical motifs are at the center of the problematic of the story. This is the motif of an unrecognized righteous man and the problem of cursing things that are touched by people with unclean hands pursuing selfish goals. So Thaddeus undertook to bring down Matryonin's room, thereby making her cursed.

Plot and composition

The story "Matryonin Dvor" has a time frame. In one paragraph, the author talks about how trains slow down at one of the crossings and 25 years after a certain event. That is, the frame refers to the beginning of the 80s, the rest of the story is an explanation of what happened at the crossing in 1956, the year of the Khrushchev thaw, when “something started to move”.

The hero-narrator finds the place of his teaching in an almost mystical way, having heard a special Russian dialect in the bazaar and settling in "kondovoy Russia", in the village of Talnovo.

In the center of the plot is the life of Matryona. The narrator learns about her fate from herself (she tells how Thaddeus, who disappeared in the first war, wooed her, and how she married his brother, who disappeared in the second). But the hero finds out more about the silent Matryona from his own observations and from others.

The story describes in detail Matryona's hut, which stands in a picturesque place near the lake. The hut plays an important role in the life and death of Matryona. To understand the meaning of the story, you need to imagine a traditional Russian hut. Matrona's hut was divided into two halves: the actual residential hut with a Russian stove and the upper room (it was built for the eldest son to separate him when he marries). It is this chamber that Thaddeus disassembles in order to build a hut for Matryona's niece and his own daughter Kira. The hut in the story is animated. The wallpaper left behind the wall is called its inner skin.

Ficuses in tubs are also endowed with living features, reminding the narrator of a silent, but lively crowd.

The development of the action in the story is a static state of harmonious coexistence of the narrator and Matryona, who "do not find the meaning of everyday existence in food." The culmination of the story is the moment of the destruction of the chamber, and the work ends with the main idea and a bitter omen.

Heroes of the story

The hero-narrator, whom Matryona calls Ignatich, from the first lines makes it clear that he came from places of detention. He is looking for a job as a teacher in the wilderness, in the Russian outback. Only the third village satisfies him. Both the first and the second turn out to be corrupted by civilization. Solzhenitsyn makes it clear to the reader that he condemns the attitude of Soviet bureaucrats towards man. The narrator despises the authorities, who do not give Matryona a pension, forcing her to work on the collective farm for sticks, not only not giving peat for the furnace, but also forbidding anyone to ask about it. He instantly decides not to extradite Matryona, who brewed moonshine, hides her crime, for which she faces prison.

Having experienced and seen a lot, the narrator, embodying the author's point of view, acquires the right to judge everything that he observes in the village of Talnovo - a miniature embodiment of Russia.

Matryona is the main character of the story. The author says about her: “Those people have good faces who are at odds with their conscience.” At the moment of acquaintance, Matryona's face is yellow, and her eyes are clouded with illness.

To survive, Matryona grows small potatoes, secretly brings forbidden peat from the forest (up to 6 sacks a day) and secretly cuts hay for her goat.

There was no woman's curiosity in Matryona, she was delicate, did not annoy with questions. Today's Matryona is a lost old woman. The author knows about her that she got married before the revolution, that she had 6 children, but they all died quickly, "so two did not live at once." Matryona's husband did not return from the war, but went missing. The hero suspected that he had a new family somewhere abroad.

Matryona had a quality that distinguished her from the rest of the villagers: she selflessly helped everyone, even the collective farm, from which she was expelled due to illness. There is a lot of mysticism in her image. In her youth, she could lift sacks of any weight, stopped a galloping horse, foresaw her death, being afraid of locomotives. Another omen of her death is a pot of holy water that went missing on Epiphany.

Matryona's death seems to be an accident. But why on the night of her death, the mice rush about like crazy? The narrator suggests that it was 30 years later that the threat of Matryona's brother-in-law Thaddeus, who threatened to chop down Matryona and his own brother, who married her, struck.

After death, the holiness of Matryona is revealed. The mourners notice that she, completely crushed by the tractor, has only the right hand left to pray to God. And the narrator draws attention to her face, more alive than dead.

Fellow villagers speak of Matryona with disdain, not understanding her disinterestedness. The sister-in-law considers her unscrupulous, not careful, not inclined to accumulate good, Matryona did not seek her own benefit and helped others for free. Despised by fellow villagers was even Matryonina's cordiality and simplicity.

Only after her death did the narrator realize that Matryona, "not chasing after the factory", indifferent to food and clothing, is the foundation, the core of all of Russia. On such a righteous person stands a village, a city and a country ("all our land"). For the sake of one righteous man, as in the Bible, God can spare the earth, protect it from fire.

Artistic originality

Matryona appears before the hero as a fairy-tale creature, like Baba Yaga, who reluctantly gets off the stove to feed the prince who is passing by. She, like a fairy grandmother, has helper animals. Shortly before the death of Matryona, the rickety cat leaves the house, the mice, anticipating the death of the old woman, rustle especially. But cockroaches are indifferent to the fate of the hostess. Following Matryona, her favorite ficuses, similar to the crowd, die: they are of no practical value and are taken out into the cold after Matryona's death.

Parents were from peasants. This did not prevent them from getting a good education. The mother was widowed six months before the birth of her son. To feed him, she went to work as a typist.

In 1938, Solzhenitsyn entered the Faculty of Physics and Mathematics of Rostov University, and in 1941, having received a diploma in mathematics, he graduated from the correspondence department of the Institute of Philosophy, Literature and History (IFLI) in Moscow.

After the start of World War II, he was drafted into the army (artillery).

On February 9, 1945, Solzhenitsyn was arrested by front-line counterintelligence: when reading (opening) his letter to a friend, NKVD officers found critical remarks about I.V. Stalin. The tribunal sentenced Alexander Isaevich to 8 years in prison, followed by exile in Siberia.

In 1957, after the start of the struggle against Stalin's personality cult, Solzhenitsyn was rehabilitated.
N. S. Khrushchev personally authorized the publication of his story about the Stalinist camps One Day in the Life of Ivan Denisovich (1962).

In 1967, after Solzhenitsyn sent an open letter to the Congress of the Writers' Union of the USSR calling for an end to censorship, his works were banned. Nevertheless, the novels In the First Circle (1968) and Cancer Ward (1969) were distributed in samizdat and were published without the consent of the author in the West.

In 1970, Alexander Isaevich was awarded the Nobel Prize in Literature.

In 1973, the KGB confiscated the manuscript of the writer's new work, The Gulag Archipelago, 1918…1956: An Experience in Artistic Research. The "Gulag Archipelago" meant prisons, forced labor camps, settlements for exiles scattered throughout the USSR.

On February 12, 1974, Solzhenitsyn was arrested, accused of high treason, and deported to the FRG. In 1976 he moved to the USA and lived in Vermont, doing literary work.

Only in 1994 was the writer able to return to Russia. Until recently, Solzhenitsyn continued his literary and social activities. He died on August 3, 2008 in Moscow.

The name "Matrenin Dvor" (invented by Tvardovsky. Initially - "there is no village without a righteous man." Had to be changed for censorship reasons)

the word “yard” can simply mean Matrena’s way of life, her household, her purely domestic worries and difficulties. In the second case, perhaps, it can be said that the word "yard" focuses the reader's attention on the fate of Matryona's house itself, Matrenya's economic yard itself. In the third case, the “yard” symbolizes the circle of people who were somehow interested in Matryona.

d) The system of characters - the narrator or the author himself (because the story is biographical, "Ignatich" - that's what Matrena calls him). To a greater extent, the viewer gives little ratings, only at the end characterizes Matryona (see short retelling) Like Matryona, Ignatich does not live by material interests.

Matryona and Ignatich are close: 1) in their attitude to life. (Both were sincere people, they did not know how to dissemble. In the scene of farewell to the deceased, Ignatic clearly sees self-interest, the acquisitiveness of her relatives, who do not consider themselves to blame for the death of Matryona and want to quickly take possession of her yard.) 2) Careful attitude to antiquity, veneration of the past. (Ignatich wanted to “take a picture of someone behind an old weaving mill, Matryona was attracted to “depict herself in the old days”.) 3) The ability to live modestly, not lose heart and escape from difficulties and sad thoughts with work. (“Life taught me not to find the meaning of everyday existence in food ... She had a sure way to regain her good mood - work ...”) 4) The ability to live under the same roof and get along with strangers. (“We didn’t share rooms ... Matryona’s hut ... we were quite good with her that autumn and winter ... We poisoned them [cockroaches] ... I got used to everything that was in Matryona’s hut ... So Matryona got used to me, and I to her, and we lived easily ...”) 5) loneliness!!! what distinguishes them: 1) Social status and life trials. (He is a teacher, a former convict who traveled the country through stages. She is a peasant woman who never left her village far.) 2) Worldview. (He lives with his mind, got an education. She is semi-literate, but lives with her heart, with her true intuition.) 3) He is a city dweller, she lives according to the laws of the village. (“When Matryona was already asleep, I worked at the table… Matryona got up at four-five in the morning… I slept for a long time…” “Due to poverty, Matryona didn’t keep the radio”, but then she began to “listen more attentively to my radio…”) 4) Ignatich can sometimes think about myself, for Matryona it is impossible. (During the loading of the logs, Ignatich reproached Matryona for putting on his quilted jacket, and she only said: “Forgive me, Ignatich.”) 5) Matryona immediately understood her tenant and protected him from curious neighbors, and Ignatich, listening to disapproving reviews at the wake writes: “... An image of Matryona came up before me, which I did not understand her ... We all lived next to her and did not understand that she was the very righteous one ...” Matryona worked in the village not for money, but for workday sticks. She was ill, but was not considered an invalid, she worked on a collective farm for a quarter of a century, "but because she was not at a factory, she was not entitled to a pension for herself, and she could only get a pension for her husband, that is, for the loss of a breadwinner. But her husband was already twelve years, since the beginning of the war, and now it was not easy to get those certificates from different places about his salary and how much he received there. Therefore, they did not want to give a pension. Never refused to help anyone. superstitious, delicate, incurious. All 6 children died. She was generous in soul, not indifferent to beauty (ficuses, Glinka's romances), not malice. And there was a kind of unpretentiousness, bliss in her. See the quote at the end of the retelling - the narrator characterizes it himself. (compare with Matryona Timofevna Korchagina from the 3rd part of Nekrasov's poem "Who Lives Well in Russia." In short, Matryona Nekrasova is considered a typical Nekrasov peasant woman who will stop a galloping horse, well, etc. + is considered happy, because She married out of love, although she was afraid of the “bondage” of marriage, but “mortal insults”, misfortunes with children, separation from her husband, who was illegally recruited, etc. - in general, long live the comparison! lost her first son, I don’t remember how, but I composed a poem about the mother’s inconsolable grief (all this applies to Solzhenitsev’s Matryona, although it is not directly expressed.) Her death: no one asked for her help, but she decided to “help”, as always, it was then that she crushed the train. , take care - a lot of colloquial words and neologisms. t (polypheny, seeds) The second Matryona is the wife of Thaddeus (brother of Efim). He fell in love with Matryona, but she was his brother's wife. Her husband beat her, she also gave birth to 6 children. Thaddeus, Yefim's brother, went to war (World War I). disappeared, but then returned. when he saw that Matryona was married, he said with a raised ax: "If it weren't for my brother, I would have chopped you both!" (For forty years, his threat lay in the corner, like an old cleaver, - but it struck ...) he beat his wife, because of blindness he did not go to the front During the Second World War. After the death of Matrena, he thought of only one thing: how to save the upper room and the hut from the three sisters. He didn’t come to the wake, but when he was given a barn at the trial, he came to the hut with burning eyes (“Overcoming weakness and aches, the insatiable old man revived and rejuvenated”). His appearance for the first time is analogous to the appearance of the Black Man in Pushkin's Mozart and Salieri and S.A. Yesenina. Thaddeus is the embodiment of this aggressive world, ruthless and inhuman. He was completely mad with greed. Quote for his first appearance: A tall black old man, taking off his hat on his knees, was sitting on a chair that Matryona put out for him in the middle of the room, by the "Dutch" stove. His whole face was covered with thick black hair, almost untouched by gray hair: a thick, black mustache merged with a black full beard, so that his mouth was barely visible; and continuous black buoys, barely showing their ears, rose to black tufts hanging from the crown of the head; and still wide black eyebrows were thrown towards each other like bridges. And only the forehead went like a bald dome into a bald, spacious dome. In all the guise of an old man, it seemed to me knowledge and dignity. Kira is the daughter of Thaddeus, she was given to be raised by Matryona, who married her to a railway worker. She went crazy after the death of Matryona + her husband was on trial. She really worried about the death of Martina, her crying at the coffin was real. Three sisters are the verbs that the author uses when describing the actions of the sisters: “flocked” (like a crow, smelling carrion), “captured”, “locked”, “gutted”. They do not feel sorry for their sisters, the main thing is to capture the good.

Antoshka is the grandson of Thaddeus. Incapable (one dvryka in mathematics, in the 8th grade, but does not distinguish between triangles). The hut is associated with Matryona and Thaddeus.

The character "they" / all verbs are impersonal in the plural. they did not want to give a pension, they did not consider them disabled. \u003d Soviet power, bosses, bureaucratic apparatus, court. In the article “Live not by lies!” Solzhenitsyn, not through artistic images, but in artistic form, calls on each of us to live in conscience, to live in truth.

43. A. Solzhenitsyn's story "One Day in the Life of Ivan Denisovich" as a work of "camp prose».

Analysis of the work The story "One Day in the Life of Ivan Denisovich" is a story about how a person from the people relates himself to the forcefully imposed reality and its ideas. It shows in a condensed form that camp life, which will be described in detail in other major works of Solzhenitsyn - in the novel The Gulag Archipelago and In the First Circle. The story itself was written while working on the novel In the First Circle, in 1959. The work is a continuous opposition to the regime. This is a cell of a large organism, a terrible and inexorable organism of a large state, so cruel to its inhabitants. In the story there are special measures of space and time. Camp is a special time that is almost still. The days in the camp are rolling, but the deadline is not. A day is a measure. Days are like two drops of water similar to each other, all the same monotony, thoughtless mechanicalness. Solzhenitsyn is trying to fit the whole camp life in one day, and therefore he uses the smallest details in order to recreate the whole picture of life in the camp. In this regard, they often talk about a high degree of detail in the works of Solzhenitsyn, and especially in small prose - stories. Behind every fact lies a whole layer of camp reality. Each moment of the story is perceived as a frame of a cinematic film, taken separately and viewed in detail, under a magnifying glass. "At five o'clock in the morning, as always, the rise struck - with a hammer on the rail at the headquarters barracks." Ivan Denisovich overslept. I always got up on the rise, but today I didn’t get up. He felt sick. They take everyone out, line them up, everyone goes to the dining room. Ivan Denisovich Shukhov's number is Sh-5h. Everyone strives to be the first to enter the dining room: they pour it thicker first. After eating, they are again built and searched. The abundance of details, as it seems at first glance, should burden the narrative. After all, there is almost no visual action in the story. But this, nevertheless, does not happen. The reader is not burdened by the narrative, on the contrary, his attention is riveted to the text, he is intensely following the course of events that are real and taking place in the soul of one of the characters. Solzhenitsyn does not need to resort to any special tricks to achieve such an effect. It's all about the material itself. Heroes are not fictional characters, but real people. And these people are placed in conditions where they have to solve problems on which their life and destiny most directly depend. To a modern person, these tasks seem insignificant, and therefore an even more terrible feeling remains from the story. As V. V. Agenosov writes, “every little thing for the hero is literally a matter of life and death, a matter of survival or dying. Therefore, Shukhov (and with him every reader) sincerely rejoices at every particle found, every extra crumb of bread. There is another time in the story - metaphysical, which is also present in other works of the writer. In this time - other values. Here the center of the world is transferred to the convict's consciousness. In this regard, the topic of metaphysical understanding of a person in captivity is very important. Young Alyoshka teaches the already middle-aged Ivan Denisovich. By this time, all Baptists were imprisoned, but not all Orthodox. Solzhenitsyn introduces the theme of religious understanding of man. He is even grateful to the prison for turning him towards spiritual life. But Solzhenitsyn noticed more than once that at this thought, millions of voices arise in his mind, saying: “Because you say so, you survived.” These are the voices of those who laid down their lives in the Gulag, who did not live to see the moment of liberation, did not see the sky without an ugly prison net. The bitterness of loss runs through the story. Separate words in the text of the story are also associated with the category of time. For example, these are the first and last lines. At the very end of the story, he says that Ivan Denisovich's day was a very successful day. But then he sadly notes that "there were three thousand six hundred and fifty three such days in his term from bell to bell." The space in the story is also interesting. The reader does not know where the camp space begins and ends, it seems as if it flooded all of Russia. All those who ended up behind the wall of the Gulag, somewhere far away, in an unattainable distant city, in the countryside. The very space of the camp turns out to be hostile to the prisoners. They are afraid of open areas, they strive to cross them as quickly as possible, to hide from the eyes of the guards. Animal instincts awaken in a person. Such a description completely contradicts the canons of Russian classics of the 19th century. The heroes of that literature feel comfortable and easy only in freedom, they love space, distance, associated with the breadth of their soul and character. The heroes of Solzhenitsyn flee from space. They feel much safer in cramped cells, in stuffy barracks, where they can at least afford to breathe more freely. The main character of the story becomes a man from the people - Ivan Denisovich, a peasant, a front-line soldier. And this is done deliberately. Solzhenitsyn believed that it is people from the people who ultimately make history, move the country forward, and bear the guarantee of true morality. Through the fate of one person - Ivan Denisovich - the author of the Brief contains the fate of millions, innocently arrested and convicted. Shukhov lived in the countryside, which he fondly remembers here in the camp. At the front, he, like thousands of others, fought with full dedication, not sparing himself. After being wounded - back to the front. Then the German captivity, from where he miraculously managed to escape. And for this he now ended up in the camp. He was accused of espionage. And what kind of task the Germans gave him, neither Ivan Denisovich himself nor the investigator knew: “What kind of task - neither Shukhov himself could come up with, nor the investigator. So they left it just - the task. By the time of the story, Shukhov had been in the camps for about eight years. But this is one of the few who, in the exhausting conditions of the camp, did not lose his dignity. In many ways, his habits of a peasant, an honest worker, a peasant help him. He does not allow himself to humiliate himself in front of other people, lick plates, inform on others. His age-old habit of respecting bread is still visible today: he keeps bread in a clean rag, takes off his hat before eating. He knows the value of work, loves it, is not lazy. He is sure: "who knows two things with his hands, he will also pick up ten." In his hands the case is argued, the frost is forgotten. He treats his tools with care, carefully monitors the laying of the wall, even in this forced labor. The day of Ivan Denisovich is a day of hard work. Ivan Denisovich knew how to carpentry, could work as a mechanic. Even in forced labor, he showed diligence, laid a beautiful even wall. And those who did not know how to do anything carried sand in wheelbarrows. The hero of Solzhenitsyn has largely become the subject of malicious accusations among critics. In their view, this integral folk character should be almost perfect. Solzhenitsyn, on the other hand, portrays an ordinary person. So, Ivan Denisovich professes camp wisdom, laws: “Groan and rot. And if you resist, you will break." It was negatively received by critics. Particular bewilderment was caused by the actions of Ivan Denisovich, when, for example, he takes away a tray from an already weak convict, deceives the cook. It is important to note here that he does this not for personal benefit, but for his entire brigade. There is another phrase in the text that caused a wave of discontent and extreme surprise among critics: “I didn’t know myself whether he wanted freedom or not.” This idea was misinterpreted as Shukhov's loss of hardness, of his inner core. However, this phrase echoes the idea that prison awakens spiritual life. Ivan Denisovich already has life values. Prison or freedom will not change them, he will not refuse it. And there is no such captivity, such a prison that could enslave the soul, deprive it of freedom, self-expression, life. The system of values ​​of Ivan Denisovich is especially visible when comparing him with other characters imbued with camp laws. Thus, in the story, Solzhenitsyn recreates the main features of that era when the people were doomed to incredible torment and hardship. The history of this phenomenon does not actually begin in 1937, when the so-called violations of the norms of state and party life begin, but much earlier, from the very beginning of the existence of the totalitarian regime in Russia. Thus, the story presents a clot of the fate of millions of Soviet people who are forced to pay for their honest and devoted service with years of humiliation.

Check the answer What term does modern literary criticism call a number of works of the 1990s that tell about the problems of the Russian village, about rural residents? "Village prose"

Check the answer What is the name of the compositional component that describes the village: “A village is randomly scattered between the peat lowlands - monotonous poorly plastered barracks of the thirties and, with carvings on the facade, with glazed verandas, houses of the fifties ...”? Landscape

Check the answer What is the name in literary criticism of the artistic technique repeatedly used by Solzhenitsyn in this fragment of the story to oppose the image of the motherland that arose in his dreams, the Russia that the writer saw in reality? Antithesis

Where are you from? I brightened up. And I learned that not everything is around the peat extraction, that there is a hillock behind the railroad track, and a village behind the hillock, and this village is Talnovo, from time immemorial it has been here, even when there was a lady-"gypsy" and there was a dashing forest all around. And then the whole region goes villages: Chaslitsy, Ovintsy, Spudni, Shevertni, Shestimirovo - everything is quieter, from the railway at a distance, to the lakes. A wind of calm drew me from these names. They promised me horse-drawn Russia.

C 2. What, in your opinion, is the main idea of ​​Solzhenitsyn's story "Matryona's Dvor" and what works of Russian literature have a similar theme?

From 5.3. What do you think is the essence of the relationship between man and power? (according to the story of A. I. Solzhenitsyn "Matrenin Dvor").
From 5.3. What is the righteousness of Matryona and why is it not appreciated and not noticed during the life of the heroine? (According to the story of A.I. Solzhenitsyn "Matrenin Dvor".)

From 5.3. How do Russian writers of the 20th century see the "little man" (based on the works of A. Solzhenitsyn "Matrenin Dvor", "One Day in the Life of Ivan Denisovich", etc.)?