Shukshin village prose stories to read. the originality of the heroes of village prose by Vasily Shukshin

"Village prose" by Vasily Shukshin. Completed: 11th grade student Tatiana Selyukova The main dates of the life and work of V. Shukshin.  1929, July 25 - born in the village of Srostki, Altai region. 1946 - went to Kaluga, where he worked as a loader and locksmith. 1949 - called up to the Baltic Fleet 1954 - entered the Institute of Cinematography (VGIK) 1958 - first appeared in a movie ("Two Fyodors").  1958 - first publication - “Two on a cart”.  1964 - makes the film "There is such a guy".  вышел          1965 - the film "Your son and brother" was released 1967 - awarded the Order of the Red Banner of Labor 1971 - awarded the USSR State Prize 1972 - the film "Stove Benches" was released. 1973 - the collection "Characters" was published. 1974 - the film "Kalina Krasnaya", the book "Conversations in the Full Moon" was released. 1974, October 2 - died suddenly during the filming of the film "They Fought for the Motherland", on the motor ship "Danube". V.M. Shukshin was posthumously awarded the Lenin Prize. "Village prose". In the 1960s, when the first works of the writer appeared in the literary periodicals, critics hastened to classify him as one of the group of "country bumpers" writers. There were reasons for that. Shukshin really preferred to write about the village, the first collection of his stories was called “Rural residents”. However, the ethnographic features of rural life, the appearance of people from the village, landscape sketches did not particularly interest the writer - all this, if it came up in the stories, it was only incidentally, fluently, in passing. There was almost no poeticization of nature in them, author's thoughtful digressions, admiration for the "mode" of folk life.   Now it is not known exactly by whom and when the term “village prose”, which later took root, was introduced, which denoted a number of very different works and their authors telling about the villagers. V. Astafiev summed up the bitter result of the village prose (we repeat, who also made a significant contribution to it): “We sang the last cry - about fifteen people were found mourners about the former village. We sang it at the same time. As they say, we wept well, at a decent level, worthy of our history, our village, our peasantry. But it was over. Now there are only miserable imitations of books that were created twenty thirty years ago. Those naive people who write about an already extinct village are imitating. Literature must now make its way through the asphalt. " Stories. Vasily Shukshin focused on something else: his stories were a string of life episodes, dramatized scenes, outwardly reminiscent of Chekhov's early stories with their non-straining, brevity ("shorter than a sparrow's nose"), the element of good-natured laughter. The characters of Shukshin were the inhabitants of the rural periphery, ordinary people, who did not break out "into the people" - in a word, those who outwardly, in their position, completely corresponded to their acquaintances from the literature of the 19th century. type of "little man". Collection "Rural residents". It is important to note that the collection "Villagers" is not only the beginning of a creative path, but also a big theme - love for the countryside. It is on the pages of this collection that we meet Gleb Kapustin - a furious debater, Vasily Knyazev, more remembered as Chudik, and the incredible inventor Bronka Pupkov. How Shukshin understood the story. “What do I think is a story? A man was walking down the street, saw a friend and told, for example, about how an old woman had just thrown herself around the corner on the pavement, and some bruiser burst out laughing. And then he was immediately ashamed of his stupid laugh, walked over and picked up the old woman. And he looked back down the street to see if anyone saw how he was laughing. That's all."   His homeland is the village of Srostki, Altai Territory, his parents are peasants. After leaving school, Shukshin served in the navy, worked as a loader, locksmith, teacher, school director. Then he graduated from the directing department of VGIK, after which he began his triumphant path in cinema as a director, actor and screenwriter. The debut in prose took place in 1961, when his stories were published by the magazine October, and two years later (simultaneously with the release of the first director's film based on his own script “There is such a guy”), the first collection of stories “Villagers” was released. Subsequently, during the life of the author, the collections “There, in the Distance” (1968), “Countrymen” (1970), “Characters” (1973) were published.  The heroes of the stories were usually the villagers, one way or another, colliding with the city, or, conversely, the townspeople who were in the village. At the same time, the village man is most often naive, simple-minded, benevolent, but the city does not meet him kindly and quickly turns off all his good impulses. This situation is most vividly presented in the story "Chudik" (1967). According to L. Anninsky, "the main point of Shukshin's feelings is resentment for the village." This, however, does not mean that Shukshin idealizes the village: he has many completely repulsive types of the most peasant origin (for example, in the stories “The Eternally Displeased Yakovlev” (1974), “Cut off”, “Strong Man” ( both 1970) and others).  As the literary critic V. Baevsky notes: “Other authors of village prose often portray the city as something openly hostile to the village, for Shukshin the city is rather something different from the village. Not hostile, just different. " About himself, Shukshin said that he felt like a man “with one leg on the shore and the other in the boat”. And he added: "... this position has its" pluses "... From comparisons, from all sorts of" from there - here "and" from here - there ", thoughts involuntarily come not only about the" village "and about the" city "and About Russia".  A Russian person in Shukshin's stories is often latently dissatisfied with his life, he feels the onset of standardization of everything and everyone, stupid and boring philistine averaging and instinctively tries to express his own individuality with often strange actions. V. Shukshin's last works  Shukshin created two novels - the traditional family “Lyubavins” (1965), which tells about the village of the twenties, and the cinematic novel about Stepan Razin “I came to give you freedom” (1971). In addition, he penned such film stories as "Kalina Krasnaya" (1973), which became the most famous film by Shukshin, "Call me into the bright distance ..." (1975), as well as the fantastic fairy tale-parable "Until the third roosters" ( 1974), unfinished story-parable “And in the morning they woke up ...” (1974), story-tale “Point of view” (1974) ...  Shortly before his sudden death, Shukshin received permission to shoot a film about Razin, whose personality he considered extremely important for understanding the Russian character. In the words of the critic V. Sigov, in him “riotous love of freedom, reckless and often aimless activity, the ability to impulse and flight, the inability to moderate passions ...” - that is, those traits and qualities that Shukshin gave to many of his other characters, in fully representing the village of his day. Shukshin in the cinema. Shukshin

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Derevskaya Proza - a trend in Russian literature of the 1950-1980s, associated with the appeal to traditional values \u200b\u200bin the depiction of modern village life.

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Although individual works critically interpreting the collective farm experience began to appear already in the early 1950s (essays by Valentin Ovechkin, Alexander Yashin, Anatoly Kalinin, Efim Dorosh), it was only by the mid-1960s that "village prose" reached such a level of artistry to take shape in a special direction (the story of Alexander Solzhenitsyn "Matryonin Dvor" was of great importance for this). Then the term itself arose.

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Fyodor Abramov, Vasily Belov, Valentin Rasputin are considered the largest representatives, "patriarchs" of the trend. The writer and film director V. M. Shukshin became a bright and distinctive representative of the “village prose” of the younger generation. The semi-official body of the village writers was the magazine Our Contemporary. V. M. Shukshin V. G. Rasputin

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Vasiliy Makarovich Shukshin (July 25, 1929, the village of Srostki, Biysk district, Biysk district, Altai Territory - October 2, 1974, the village of Kletskaya, Volgograd Region) - Soviet film director, actor, writer, screenwriter. Honored Artist of the RSFSR (1969). Winner of the Lenin Prize (1976, posthumously), the State Prize of the USSR (1971) and the State Prize of the RSFSR named after V. brothers Vasiliev (1967). Member of the CPSU since 1955.

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Vasily Shukshin was born on July 25, 1929 into a peasant family. His father, Makar Leontyevich Shukshin (1912-1933), was arrested and shot in 1933, during collectivization, and posthumously rehabilitated in 1956. Mother, Maria Sergeevna (nee Popova; in her second marriage - Kuksina) (1909 - January 17, 1979) took care of the family. Sister - Natalia Makarovna Shukshina (November 16, 1931 - July 10, 2005). After the arrest of his father and before receiving his passport, Vasily Makarovich was named by his maternal surname, Vasily Popov.

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In 1954, Shukshin went to Moscow to enroll in VGIK. To raise money for the trip, his mother sold the cow. At first, Shukshin applied to the screenwriting department, but then decided to enter the directing department and graduated in 1960 (workshop of M.I. Romm). While studying at VGIK, on \u200b\u200bthe advice of Romm, Shukshin began to send his stories to the capital's publications. In 1958, the magazine "Smena" published his first story "Two on a cart".

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In 1956, Shukshin made his film debut: in the film "Quiet Don" (second episode) by S. A. Gerasimov, he played in a tiny episode - he portrayed a sailor looking out from behind a wattle fence. With this sailor, the cinematic fate of Shukshin the actor began. While studying at VGIK in 1958, Shukshin starred in his first leading role in the film by M. M. Khutsiev "Two Fyodors". In his thesis "From Lebyazhye They Report" Shukshin acted as a screenwriter, director and performer of the main role. The acting career was developing quite successfully, Shukshin did not lack proposals from leading directors. In 1963, Shukshin began working as a director at the TsKDUF.

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1973-1974 years became very fruitful for Shukshin. His film "Kalina Krasnaya", which received the first prize of the All-Union Film Festival, was released. A new collection of short stories "Characters" has been published. On the stage of the LABDT director G. A. Tovstonogov was preparing the production of the play "Energetic people". In 1974 Shukshin accepted an invitation to star in a new film by S.F.Bondarchuk. But Vasily Shukshin had long been tormented by bouts of stomach ulcers, which haunted him since his youth, when he suffered from an addiction to alcohol. In the last years of his life after the birth of his daughters, he did not touch alcohol, but the disease progressed. Even on the set of "Kalina Krasnaya", he barely came to his senses after severe attacks.

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The beginning of Perestroika was marked by an explosion of public interest in new works by the most prominent of them (Rasputin's Fire, Viktor Astafiev's Sad Detective, Belov's Everything Ahead), but the change in the socio-political situation after the fall of the USSR led to a center of gravity in literature shifted to other phenomena, and village prose dropped out of the works of the popular genre. Meanwhile, these works are of great importance for the preservation of national Russian culture and historical memory. It was the village writers who portrayed the tragedy of collectivization ("Men and Women" by Boris Mozhaev). Boris Mozhaev

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Significant works of village prose "Essays on collective farm life" V. V. Ovechkin (1953) "Brothers and sisters" F. A. Abramov (1957) "Matryon's yard" A. I. Solzhenitsyn (1963) "On the Irtysh" S. P. Zalygin (1965) "Habitual business" V. I. Belov (1966) "Living" B. A. Mozhaev (1966) "Lyubavins" V. A. Shukshin (1966) "Farewell to Matera "V. G. Rasputin (1976)" Tsar-fish "V. P. Astafiev (1976)" Living water "V. N. Krupin (1982)

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The famous film adaptation of Farewell is a 1981 Soviet two-part film based on the story Farewell to Mother by Valentin Rasputin. Conceived and started by Larisa Shepitko, the film was filmed after her tragic death by her husband, film director Elem Klimov. He also changed the name: "Farewell to Matera" became simply "Farewell".

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Afrikanych 1970, USSR, Melodramas, Soviet cinema, 68 minutes Soviet black-and-white melodrama based on Vasily Belov's story "Habitual Business". You can watch the online film "Afrikanych". The main character Afrikanych lives in the village with his beloved wife Ekaterina, with whom they raise several children together. After the birth of another baby, Katerina falls ill, and Afrikanych decides to go to work far from home. However, on the way, he realizes that he cannot live without his beloved and is in a hurry to return home. A film with a touch of light sadness about love and loved ones, devotion, loyalty and family. The role of Afrikanych in the film was played by Nikolai Trofimov, known for the role of Lev Gurych Sinichkin in the film of the same name, the wolf in Little Red Riding Hood, and also Mr. Pickwick in the theatrical and television production of George Tovstonogov, The Pickwick Club. The role of Afrikanych's wife Katerina went to Irina Bunina, People's Artist of Ukraine.

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Drama based on Shukshin's novel "The Lyubavins". Filmed by director Leonid Golovnya in 1971 in the USSR.

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Melodrama-parable based on the novel by V. Astafiev "Tsar-fish" (after the chapter "Dream of the White Mountains"). The taiga hunter Akim unexpectedly finds a dying girl in his own winter quarters, whom the "free man" and the complete womanizer Goga took with him, but he himself could not stand the test of the king-fish. Reminiscent of a hermit monk who feels good only far from civilization, the illiterate Akim shows ingenuity wonders to save the intruder from death. He stoically nurses her, which makes it very difficult for himself to meet production targets. But what are they in comparison with the heartache that comes to Akim when the beautiful Elya comes to her senses! And this person is incredibly dear to her, but, unfortunately, they are representatives of different "galaxies" ... Unchained, for its time somewhat shocking, but deep, human and very sensual cinema, which was clearly knocked out of the stream of Soviet films and remained underestimated.

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The genre of village prose in Russian literature (on the example of Shukshin's work)

Story novel

comedy

hero

movies image

creativity

novel writer

Vasily Makarovich Shukshin was born in 1929, in the village of Srostki, Altai Territory. And throughout the life of the future writer, the beauty and severity of those places ran like a red thread. Thanks to its small homeland

Shukshin learned to appreciate the land, human labor on this land, learned to understand the harsh prose of rural life. From the very beginning of his creative career, he discovered new ways in the image of a person. His heroes turned out to be unusual in their social status and maturity in life, and in moral experience. Having become already quite a mature young man, Shukshin went to the center of Russia. In 1958, he made his film debut ("Two Fyodors"), as well as in literature ("A Story in a Cart"). In 1963, Shukshin released his first collection - "Rural residents". And in 1964 his film "There is such a guy" won the main prize at the festival in Venice. World fame comes to Shukshin. But he doesn't stop there. Years of hard and painstaking work follow. For example, in 1965 his novel “The Lyubavins” was published and at the same time the film “Such a guy lives” appeared on the screens of the country. This example alone can judge with what dedication and intensity the artist worked.

Or maybe it is haste, impatience? Or a desire to immediately establish oneself in literature on the most solid - "novel" - basis? This is certainly not the case. Shukshin wrote only two novels. And as Vasily Makarovich himself said, he was interested in one topic: the fate of the Russian peasantry. Shukshin managed to touch the quick, break into our souls and make us ask in shock: "What is happening to us?" Shukshin did not spare himself, he was in a hurry to have time to tell the truth, and with this truth bring people together. He was obsessed with one thought that he wanted to think out loud. And be understood! All efforts of Shukshin, the creator, were directed towards this. He believed: “Art - so to speak, to be understood ...” From the first steps in art, Shukshin explained, argued, argued and suffered when he was not understood. He is told that the film "Such a Guy Lives" is a comedy. He is perplexed and writes an afterword to the film. A tricky question is thrown to him at a meeting with young scientists, he wallows, and then sits down at an article ("Monologue on the stairs").

Where did the writer get the material for his works? Wherever people live. What kind of material is it, what kind of heroes? That material, and those heroes who rarely fell into the field of art before. And it took a great talent to come from the depths of the people, so that with love and respect he told a simple, strict truth about his fellow countrymen. And this truth became a fact of art, aroused love and respect for the author himself. Shukshin's hero turned out to be not only unfamiliar, but partly incomprehensible. Fans of "distilled" prose demanded a "beautiful hero", demanded that the writer invent so that God forbid not to disturb his own soul. Strange as it may seem, the polarity of opinions and harsh assessments arose precisely because the hero was not invented. And when the hero is a real person, he cannot be only moral or only immoral. And when the hero is invented to please someone, here is complete immorality. Is it not from here, from a misunderstanding of Shukshin's creative position, that creative errors of perception of his heroes come.

Indeed, in his heroes the immediacy of the action, the logical unpredictability of the action are striking: either he suddenly performs a feat, then suddenly he escapes from the camp three months before the end of the term.

Shukshin himself admitted: “It is most interesting for me to investigate the character of a non-dogmatic person, a person who is not immobilized in the science of behavior. Such a person is impulsive, amenable to impulses, and therefore, extremely natural. But he always has an intelligent soul. " The heroes of the writer are really impulsive and extremely natural. And they do so because of internal moral concepts, which they themselves may not have yet realized. They have a heightened reaction to humiliation of man by man. This reaction takes on a variety of forms. Sometimes it leads to the most unexpected results.

The pain of Serega Bezmenov's wife's infidelity burned, and he chopped off two of his fingers ("Bespaly"). A boorish salesman insulted a bespectacled man in a store, and for the first time in his life he got drunk and ended up in a sobering-up station ("And in the morning they woke up ..."), etc., etc.

In such situations, Shukshin's heroes can even commit suicide ("Suraz", "The wife of her husband saw off to Paris"). No, they do not stand insults, humiliations, offenses. Sashka Ermolaev ("Insult") was offended, the "unbending" salesman aunt was naughty. So what? It happens. But Shukshin's hero will not endure, but will prove, explain, break through the wall of indifference. And ... will grab the hammer. Or will leave the hospital, as did Vanka Teplyashin, as did Shukshin ("Klyauza"). A very natural reaction of a conscientious and kind person ...

No, Shukshin does not idealize his strange, unlucky heroes. Idealization generally contradicts the art of the writer. But in each of them he finds something that is close to himself. And now, it is no longer possible to make out who is there causing humanity - the writer Shukshin or Vanka Teplyashin.

The Shukshin hero, faced with a "narrow-minded gorilla", can in despair himself grab the hammer to prove his innocence to the wrong, and Shukshin himself can say: "Here you have to hit the head with a stool right away - the only way to tell the boor that he did wrong" ( "Borya"). This is a purely "Shukshin" collision, when truth, conscience, honor cannot prove that they are them. And the boor is so easy, so easy to reproach a conscientious person. And more and more often the clashes of Shukshin's heroes become dramatic for them. Shukshin was considered by many to be a comic and "joking" writer, but over the years, the one-sidedness of this statement, as well as the other, about the "complacent non-conflict" of Vasily Makarovich's works, was more and more clearly revealed. The plot situations of Shukshin's stories are highly revelatory. In the course of their development, comedic positions can be dramatized, and in the dramatic, something comic is found. With an enlarged image of unusual, exceptional circumstances, the situation suggests their possible explosion, catastrophe, which, having erupted, break the usual course of life of the heroes. Most often, the actions of the heroes determine the strongest desire for happiness, for the establishment of justice ("Autumn").

Did Shukshin write about the cruel and gloomy owners of the Lyubavins, the freedom-loving rebel Stepan Razin, old people and old women, did he talk about the break in the canopy, about the inevitable departure of man and his farewell to all earthly people, did he put on films about Pashka Kogolnikov, Ivan Rastorguev, the Prokudrominov brothers, Egor , he portrayed his heroes against the background of specific and generalized images - a river, a road, an endless space of arable land, a native home, unknown graves. Shukshin understands this central image as a comprehensive content, solving a cardinal problem: what is there? What is the essence of his existence on Earth?

The study of the Russian national character that has evolved over the centuries and the changes in it associated with the rapid changes of the 20th century is the strong side of Shukshin's work.

Earthly attraction and attraction to the earth is the strongest feeling of the farmer. A figurative idea of \u200b\u200bthe greatness and power of the earth, the source of life, born together with a person, keepers of time and the generations that passed with it in art. The earth is a poetically significant image in Shukshin's art: home, arable land, steppe, Motherland, mother - the earth is damp ... Folk-shaped associations and perceptions create an integral system of national, historical and philosophical concepts: about the infinity of life and the goals of generations that are receding into the past Homeland, about spiritual ties. The all-encompassing image of the land - the Motherland becomes the center of gravity of the entire content of Shukshin's work: basic collisions, artistic concepts, moral and aesthetic ideals and poetics. The enrichment and renewal, even the complication of the primordial concepts of land and home in Shukshin's work is quite natural. His perception of the world, life experience, heightened sense of homeland, artistic penetration, born in a new era in the life of the people, led to such a kind of prose.

The first attempt by V. Shukshin to comprehend the fate of the Russian peasantry at the historical breaks was the novel "Lyubavins". It dealt with the beginning of the 1920s. But the main character, the main embodiment, the concentration of the Russian national character for Shukshin was Stepan Razin. It is to him, his uprising, that Shukshin's second and last novel “I Came to Give You Free Will” is dedicated. When Shukshin first became interested in Razin's personality, it is difficult to say. But already in the collection "Villagers" a conversation about him begins. There was a moment when the writer realized that Stepan Razin, by some facets of his character, was absolutely modern, that he was the concentration of the national characteristics of the Russian people. And Shukshin wanted to convey this precious discovery to the reader. Today's man is acutely aware of how "the distance between modernity and history has narrowed." Writers, referring to the events of the past, study them from the perspective of people of the XX century, seek and find those moral and spiritual values \u200b\u200bthat are necessary in our time. Several years have passed since the end of work on the novel "The Lyubavins", and Shukshin at a new artistic level is trying to explore the processes taking place in the Russian peasantry.

It was his dream to stage a film about Stepan Razin. He returned to her constantly. If we take into account the nature of Shukshin's talent, who was inspired and fed on living life, and take into account that he himself was going to play the role of Stepan Razin, then from the film one could expect a new deep penetration into the Russian national character. One of the best books by Shukshin is called "Characters" - and this name itself emphasizes the writer's addiction to things that have fallen apart in certain historical conditions.

In the stories written in recent years, more and more often there is a passionate, sincere author's voice, addressed directly to the reader. Shukshin spoke about the most important thing, painful, revealing his artistic position. It was as if he felt that his heroes could not express everything, but it was imperative to say. More and more "sudden", "fictional" stories from himself by Vasily Makarovich Shukshin appear. Such an open movement towards "unheard of simplicity", a kind of nakedness - in the traditions of Russian literature. Here, in fact, it is no longer art, going beyond it, when the soul screams about its pain. Now stories are a continuous author's word. The interview is a naked revelation. And everywhere there are questions, questions, questions. The most important ones are about the meaning of life.

Art should teach goodness. Shukshin saw the most precious wealth in the ability of a pure human heart to do good. "If we are strong in anything and truly smart, it is in a good deed," he said. Vasily Makarovich Shukshin lived with this, believed in it.

The originality of the heroes of village prose by Vasily Shukshin

Village prose occupies one of the main places in Russian literature. The key themes touched upon in the works of this genre should be called immortal. These include the problems of morality and morality, love for native nature, a kind-hearted view of the world of people and other issues that are burning at all times. The fundamental place between the writers of the second half of the XX century is occupied by the works of Viktor Petrovich Astafiev ("Tsar-fish", "Shepherd and Shepherd"), Valentin Grigorievich Rasputin ("Live and Remember", "Farewell to Mother"), Vasily Makarovich Shukshin ("Rural inhabitants ”,“ Lyubavins ”,“ I came to give you freedom ”) and others.

The originality of this writer is explained not only by his talent, but also by the fact that he, with love and respect, told a simple truth about his fellow countrymen. This is probably why Shukshin's hero turned out to be not only unfamiliar, but partly incomprehensible.

Shukshin did not invent his hero, he took him from life. That is why he is direct, sometimes unpredictable: he will suddenly perform a feat, then suddenly he will escape from the camp three months before the end of the term. Shukshin himself admitted: “It is most interesting for me to investigate the character of a person who is not a dogmatist, a person who is not planted on the science of behavior. Such a person is impulsive, gives in to impulses, and, therefore, is extremely natural. But he always has an intelligent soul. " The characters of the writer are really impulsive and natural. They sharply and sometimes unpredictably react to humiliation of a person by a person. Seryoga Bezmenov chopped off two fingers when he learned about his wife's betrayal ("Bespaly"). The boor - the seller insulted the bespectacled man in the store, and for the first time in his life he got drunk and ended up in a sobering-up station ("And in the morning they woke up ..."). Shukshin's heroes can even commit suicide (“Suraz”, “My husband’s wife saw him off to Paris”), because they cannot stand the insults, humiliations, and insults. Most often, the actions of Shukshin's heroes determine the strongest desire for happiness, for the establishment of justice ("Autumn"). Vasily Shukshin does not idealize his strange, “weird” characters. But in each of them he finds something that is close to himself.

Shukshin's village prose is distinguished by a deep study of the Russian national character, the character of the farmer. He shows that the main thing in him is the attraction to the earth. Shukshin says that the land for a Russian person is both a source of life and a link between generations; and home, and arable land, and steppe. This is the same small homeland with its rivers, roads, endless arable land ...

For Shukshin, Stepan Razin became the main character, in which the Russian national character was embodied. It is to him, his uprising, that Vasily Shukshin's novel “I Came to Give You Free Will” is dedicated. The writer believed that Stepan Razin was somehow close to the modern Russian man, that his character was the embodiment of the national characteristics of our people. And Shukshin wanted to convey this important discovery to the reader.

The peasantry has long played the most important role in history in Russia. Not in terms of power, but in spirit - the peasantry was the driving force of Russian history. It was from the dark, ignorant peasants that Stenka Razin, and Emelyan Pugachev, and Ivan Bolotnikov came out, precisely because of the peasants, more precisely because of serfdom, that fierce struggle took place, the victims of which were both the tsars and part of the outstanding Russian intelligentsia of the 19th century ... Thanks to this, works covering this topic occupy a special place in literature. Vasily Shukshin managed to create a new image of the peasant in his prose. He is a man of great soul, he is independent and a little eccentric. These qualities of Shukshin's heroes bribe us when we read his works. “If we are strong in anything and truly smart, it’s in a good deed,” said Vasily Shukshin. The work of the writer himself clearly proves this.

The author tried to convey the experiences that Viti's mother experienced. And I think this is one of the most successful attempts. A life tragedy turns into a story with a deep ideological meaning. And the brightest moment, revealing the main idea of \u200b\u200bthe work, was the scene of the meeting of a mother with her son in prison, when she comes to see him. “At that moment, the mother had something else in her soul: she suddenly completely ceased to understand what was in the world - the police, the prosecutor, the court, the prison ... Her child was sitting next to her, guilty, helpless ... And who can now take him away from her when does he need her, no one else? And indeed, he needs her. He sacredly honors his mother and will never give her offense. But even before the meeting, he becomes ashamed. Painfully ashamed. Sorry for the mother. He knew that she would come to him, break through all the laws - he was waiting for this and was afraid ”. He himself was afraid of offending her.

Real feelings, deep and bottomless, are simply fantastic to formulate verbally. However, Shukshin uses a language that is understandable to an ordinary person, a language that makes his works generally accessible to all categories of readers. In addition, the writer takes the side of the main characters, and here the central place in his works is occupied by the mother's love, which defies any rules and laws, although it is difficult and even unrealistic to challenge them.
Awards and awards:
1964 - There is such a guy (film) awarded the first prize at the All-Union Film Festival in Leningrad and the main award of the XVI International Film Festival in Venice - "The Golden Lion of St. Mark".
1969 - State Prize of the RSFSR named after the Vasiliev brothers - For the feature film "Your Son and Brother"
1969 - Honored Artist of the RSFSR
1967 - By the decree of the Presidium of the Supreme Soviet of the USSR, Vasily Shukshin was awarded the Order of the Red Banner of Labor.
1971 - USSR State Prize - for the role in the film by S. A. Gerasimov "By the Lake"
1974 - Kalina krasnaya (film) - first prize at the All-Union Film Festival
1976 - Lenin Prize - for the totality of creativity (posthumous)

History

Although individual works that critically interpret the collective farm experience began to appear already in the early 1950s (essays by Valentin Ovechkin, Alexander Yashin, Anatoly Kalinin, Efim Dorosh), only by the mid-1960s did “village prose” reach such a level of artistry to take shape in a special direction (Solzhenitsyn's story "Matryonin's yard" was of great importance for this). Then the term itself arose.

F. A. Abramov, V. I. Belov, V. G. Rasputin are considered the largest representatives, "patriarchs" of the trend. The writer and film director V. M. Shukshin became a bright and distinctive representative of the “village prose” of the younger generation. The semi-official organ of the village writers was the journal Our Contemporary.

The beginning of Perestroika was marked by an explosion of public interest in new works by the most prominent of them (Rasputin's "Fire", "The Sad Detective" by V.P. Astafiev, "Everything Ahead" by Belov), but the change in the socio-political situation after the fall of the USSR led to the fact that the center of gravity in literature shifted to other phenomena, and, as it was believed until recently and continues to be considered part of researchers, village prose dropped out of current literature.

Significant works of country prose

"Rural prose"

The concept of "village" prose appeared in the early 60s. This is one of the most fruitful trends in our domestic literature. It is represented by many original works: "Vladimir's country roads" and "A drop of dew" by Vladimir Soloukhin, "Habitual business" and "Carpentry stories" by Vasily Belov, "Matryona's yard" by Alexander Solzhenitsyn, "Last bow" by Viktor Astafiev, stories by Vasily Shukshin, Evgeny Nosov , novels by Valentin Rasputin and Vladimir Tendryakov, novels by Fyodor Abramov and Boris Mozhaev. The sons of peasants came to literature, each of them could say about himself the very words that the poet Alexander Yashin wrote in the story "I Treat Rowan": "I am the son of a peasant ... Everything that is done on this land, where I am not alone, concerns me. I knocked out the trail with bare heels; in the fields that he was still plowing with a plow, in the harvest that came with the scythe and where he threw hay into haystacks. "

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

Not only the memory of the heart nourished the theme of “small homeland”, “sweet homeland,” but also pain for its present, anxiety for its future. Exploring the reasons for the acute and problematic conversation about the village, which was conducted by literature in the 60s and 70s, F. Abramov wrote: “The countryside is the depths of Russia, the soil on which our culture grew and flourished. At the same time, the scientific and technological revolution, in which we live, has touched the village very thoroughly. Technique has changed not only the type of farming, but also the very type of peasant ... Along with the old way of life, the moral type goes into oblivion. Traditional Russia is turning over the last pages of its thousand-year history. Interest in all these phenomena in literature is natural ... Traditional crafts are dying out, local peculiarities of peasant dwellings, which have been developing for centuries, are disappearing ... Language bears serious losses. The village always spoke a richer language than the city, now this freshness is leached out, washed away ... "

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

"Habitual business" is the title of one of V. Belov's stories. These words can define the inner theme of many works about the countryside: life as labor, life in labor is a common thing. Writers draw traditional rhythms of peasant work, family concerns and anxieties, everyday life and holidays. There are many lyrical landscapes in the books. Thus, in B. Mozhaev's novel "Men and Women", attention is drawn to the description of "unique in the world, fabulous flood plains of the Oka", with their "free forbs": "Andrey Ivanovich loved meadows. Where else in the world is there such a gift from God? So as not to plow and sow, and the time will come - the whole world will leave, as for a holiday, in these soft manes and in front of a friend, playfully scythe, one week to blow baked hay for the whole winter cattle ... Twenty-five! Thirty carts! If the grace of God has been sent down to the Russian peasant, then here it is, here, spreads out in front of him, in all directions - you cannot grasp it with your eye. "

In the protagonist of B. Mozhaev's novel, the most intimate is revealed, that which the writer associated with the concept of "the call of the earth." Through the poetry of peasant labor, he shows the natural course of a healthy life, comprehends the harmony of the inner world of a person who lives in harmony with nature, rejoicing in its beauty.
Here is another similar sketch - from F. Abramov's novel “Two winters and three summers”: “... Mentally talking with the children, guessing on the tracks how they walked, where they stopped, Anna did not notice how she went to Sinelga. And here it is, her holiday, her day, here she is, the joy she has suffered: the Prysslin brigade at the reaping! Mikhail, Liza, Peter, Gregory ... She got used to Mikhail - from the age of fourteen she has been mowing down for a peasant and now there are no mowers equal to him in all Pekashin. And Lizka also leads a swath - you will envy. Not into her, not into her mother, into her grandmother Matryona, they say, by a grip. But small, small! Both have scythes, both hit the grass with scythes, both have the grass under the scythes ... God, did she ever think that she would ever see such a miracle! "

Writers have a subtle sense of the deep culture of the people. Comprehending his spiritual experience, V. Belov emphasizes in the book “Lad”: “Working beautifully is not only easier, but also more enjoyable. Talent and work are inseparable. " And again: "For the soul, for memory, it was necessary to build a house with carvings, or a temple on the mountain, or weave such lace, from which the distant great-great-granddaughter's eyes would catch the breath and light up. Because man does not live by bread alone."
This truth is professed by the best heroes of Belov and Rasputin, Shukshin and Astafiev, Mozhaev and Abramov.

In their works, it is necessary to note the pictures of the brutal destruction of the village, first during collectivization ("Eves" by V. Belov, "Men and Women" by B. Mozhaev), then during the war years ("Brothers and Sisters" by F. Abramov), during the years the post-war hard times ("Two winters and three summers" by F. Abramov, "Matrenin's yard" by A. Solzhenitsyn, "Habitual business" by V. Belov).

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

Vasily Makarovich Shukshin as a representative of "village prose"

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

1. Introduction …………………………………………………………… ........… .3
2. Village prose by V. Shukshin ……………………………………. …… .4-10
3. Conclusion ………………………………………………………. ……….… .11
4. List of used literature

Files: 1 file

1. Introduction ……………………………………………………………… ........… .3

2. Village prose of V. Shukshin ……………………………………. …… .4-10

3. Conclusion ………………………………………………………. ……….… .11

4. List of used literature ……………………………… ..… .. …… 12

Introduction.

Contemporary village prose plays a large role in the literary process today. This genre nowadays rightfully occupies one of the leading places in terms of readability and popularity. The modern reader is concerned about the problems that arise in novels of this genre. These are questions of morality, love of nature, good, kind attitude to people and other problems that are so urgent today. Among the writers of our time, who wrote or write in the genre of village prose, the leading place is occupied by such writers as Viktor Petrovich Astafiev ("Tsar-fish", "Shepherd and Shepherdess"), Valentin Grigorievich Rasputin ("Live and Remember", "Farewell to Mother ”), Vasily Makarovich Shukshin (“ Rural residents ”,“ Lyubavins ”,“ I came to give you freedom ”) and others.

Vasily Makarovich Shukshin occupies a special place in this row. His original work has attracted and will continue to attract hundreds of thousands of readers not only in our country, but also abroad. After all, one can rarely find such a master of the folk word, such a sincere admirer of his native land, as was this outstanding writer.

The heroes of Shukshin's books and films are people of the Soviet countryside, simple workers with peculiar characters, observant and sharp-tongued. One of his first heroes, Pashka Kolokolnikov ("Such a guy lives") - a village driver, in whose life "there is room for heroism." Some of his heroes can be called eccentrics, people "out of this world" (story "Microscope", "Chudik"). Other characters have passed the ordeal of imprisonment (Yegor Prokudin, "Kalina Krasnaya").

In the works of Shukshin, a laconic and succinct description of the Soviet village is given, his work is characterized by a deep knowledge of the language and details of everyday life, deep moral problems and universal values \u200b\u200boften come to the fore in him (the stories "The Hunt to Live", "Space, the Nervous System and the Shmat of Fat" )

Village prose by V. Shukshin.

Shukshin's stories, thematically referring to the "village prose", differed from its main stream in that the author's attention was focused not so much on the foundations of folk morality, but on the difficult psychological situations in which the heroes found themselves. The city both attracted the Shukshin hero as a center of cultural life, and repelled with its indifference to the fate of an individual. Shukshin felt this situation as a personal drama. “So it turned out for me by the age of forty,” he wrote, “that I am not an urban person to the end, and no longer a village one. Terribly awkward position. It's not even between two chairs, but rather like this: one foot on the shore, the other in the boat. And it’s impossible not to swim, and it’s kind of scary to swim ... ”Shukshin's books, according to the writer’s own words, became“ the history of the soul ”of the Russian person.

The main genre in which Shukshin worked is a short story, which is either a small psychologically accurate scene built on an expressive dialogue, or several episodes from the hero's life.

Shukshin wrote about the Russian peasant, about Russia, the Russian national character.

Main topics:

Ø Contrasting city and village;

Ø “Light souls”;

Ø Love;

Ø “Freaks”;

Ø The meaning of life;

Ø Peasant children;

Ø Russian peasant woman.

The above topics do not exhaust the whole thematic variety of “village” stories by V. Shukshin. In addition, many stories, being thematically diverse, can be attributed not to one, not to two, but to several topics.

Shukshin's heroes

The first attempt by V. Shukshin to comprehend the fate of the Russian peasantry at historical breaks was the novel "Lyubavins". It dealt with the beginning of the 20s of our century. But the main character, the main embodiment, the focus of the Russian national character for Shukshin was Stepan Razin. It is to him, his uprising, that Shukshin's second and last novel “I have come to give you freedom” is dedicated. When Shukshin first became interested in Razin's personality, it is difficult to say. But already in the collection "Villagers" a conversation about him begins. There was a moment when the writer realized that Stepan Razin, by some facets of his character, was absolutely modern, that he was the concentration of the national characteristics of the Russian people. And this discovery, precious for himself, Shukshin wanted to convey to the reader. Today's man is keenly aware of how "the distance between modernity and history has narrowed." Writers, referring to the events of the past, study them from the perspective of the people of the twentieth century, seek and find those moral and spiritual values \u200b\u200bthat are necessary in our time.

Shukshin called his heroes "strange people", "unlucky people." In the minds of readers and critics, the name "freak" has taken root (based on the story of the same name, 1967). It is the "freaks" who are the main characters of the stories, united by Shukshin in one of his best collections "Characters".

The heroes of the stories were usually the villagers, one way or another, colliding with the city, or, conversely, the townspeople who were in the village. At the same time, the village man is most often naive, simple-minded, benevolent, but the city does not meet him kindly and quickly turns off all his good impulses.

This situation is most vividly presented in the story "Chudik" (1967). The main point of Shukshin's feelings is resentment for the village.

Shukshin does not idealize the village: he has many completely repulsive types of the most peasant origin (for example, in the stories “The Eternally Displeased Yakovlev” (1974), “Cut”, “Strong Man” (1970) and others). Shukshin said that he felt like a man "with one leg on the shore and the other in the boat." And he added: “... this position has its“ pluses ”... From comparisons, from all sorts of“ from here to here ”and“ from here to there ”thoughts involuntarily come not only about the“ village ”and about the“ city ”- oh Russia ”.

The Russian person in Shukshin's stories is often latently dissatisfied with his life, he feels the onset of standardization of everything and everyone, stupid and boring philistine averaging and instinctively tries to express his own individuality - often with strange actions. A certain Bronka Pupkov from the story "Mil pardon, madam!" (1968) comes up with a whole exciting story about how, during the war, he allegedly received a special assignment to kill Hitler himself, and what came of it. Let the whole village laugh and be indignant, but Bronka over and over again presents this story to visitors from the city - after all, then at least for a moment he himself can believe that he is a valuable person, because of whom the course of world history almost changed ...

But Alyosha Beskonvoyny from the story of the same name (1973) wins for himself on the collective farm the right to a non-working Saturday, in order to devote it entirely to ... the bath every time. For him, this bathing day becomes the main and favorite of the week - after all, then he belongs only to himself, and not to the collective farm, not to the family - and alone with himself can calmly indulge in memories, reflect on life, dream ...

And someone invents a perpetual motion machine at their leisure (“Persistent”, 1973); someone - with their hard-earned money earned at the cost of overtime - acquires a microscope and dreams of inventing a remedy against microbes ("Microscope", 1969) ... Why so often the villagers no longer see the meaning of their existence in the earth, like their ancestors, why do they either leave for the cities (even though it is hard for them there), or direct all their thoughts to the same microscopes and perpetual motion machines? Shukshin, although he once remarked: “We“ plow ”shallowly, do not understand the meaning of the owner of the land, a worker not for hire, but out of conviction,” - usually does not analyze the socio-historical reasons for this situation. He, according to the definition of the same Anninsky, simply "spreads his confusion."

Shukshin's stories are often based on the opposition of the external, everyday, and internal, spiritual, content of life.

The life values \u200b\u200bof Shukshin's heroes and their view of the world do not coincide with those of the philistine. Sometimes these characters are funny and funny, sometimes they are tragic. “What interests me most,” Shukshin wrote, “is to investigate the character of a non-dogmatic person, a person who is not immersed in the science of behavior. Such a person is impulsive, gives in to impulses, and therefore is extremely natural. But he always has a rational soul ... ".

Shukshin does not try to aestheticize or idealize his eccentrics, he does not just show interest in the variety of human characters, the complexity of human nature. Shukshin seems to be trying to justify, “legalize” behavior that seems strange and abnormal. His eccentrics carry both the spiritual dissatisfaction of the Soviet people and the eternal Russian national longing for the meaning of human life.

As a rule, Shukshin's heroes are losers. But their failure, everyday inconsistency is a kind of principle, a life position.

The hero of the story "Chudik" and his brother are not understood by their own wives and the people around them. Wanting to please his daughter-in-law, who disliked him, Chudik paints a baby carriage, which causes the fury of a woman who drives him out of the house. An unassuming attempt to bring beauty into a house where anger and irritation live ends in another failure. But the ending of the story is interesting, when Chudik, who made such a long journey to his brother for the sake of two days of such a pitifully ended guest-house, returns to his native village: “Chudik came home when it was raining steamy rain. The eccentric got off the bus, took off his new shoes, ran on the warm wet earth - a suitcase in one hand, boots in the other. He jumped up and sang loudly: Poplar-ah-ah, poplars-ah-ah ... On one edge the sky had already cleared, blue, and the sun was close somewhere. And the rain thinned, splashed in large drops into the puddles; bubbles exploded and burst in them. In one place Chudik slipped, almost fell. His name was Vasily Yegorych Knyazev. He was thirty-nine years old. He worked as a projectionist in the village. He loved detectives and dogs. As a child, he dreamed of becoming a spy. "

How much kindness, childishness, almost foolish non-malice; how much simple joy of being is in the hero of the story!

The plot of the story "Microscope" seems at first a funny anecdote. His hero, a simple carpenter Andrei Erin, buys a microscope, which is dear to him: first he tells his wife that he has lost money, and, having withstood the attack of a woman armed with a frying pan, works overtime for a whole month; then brings a microscope into the house, saying that it is a bonus for impact work. Bringing a microscope, he begins to study everything: water, soup, sweat - and everywhere he finds microbes. His eldest son, a fifth-grader, is enthusiastically engaged in "research" together with his father, and even his wife is imbued with some respect for him ("You will sleep with a scientist, dear ..." in the "noisy master" in the house, and "Zoya Yerina ... it was flattering that people in the village talk about her husband - a scientist").

Wanting to find some universal remedy to save the world from germs, this illiterate working man spends his free time not with a bottle, but behind a microscope with his son, and both of them are absolutely happy. Suddenly, the wife finds out the truth about the origin of the microscope. In order to avoid another collision with a frying pan, the hero runs away from home for the night, and upon returning, he learns from his son that his wife went to the city to sell a microscope to a thrift store to buy fur coats for younger children. Of course, the hero realizes that this is much more reasonable ... But something happened to his soul. “Sell. Yes ... we need fur coats. Okay - fur coats, okay. Nothing ... It is necessary, of course ... "- such an unconvincing self-hypnosis of the hero ends the story, the plot and the hero of which no longer seem funny.

The story "Resentment" begins with an ordinary everyday situation, but its importance is declared by the first line of the story: "Sasha Ermolaev was offended." But the hero of the story does not behave like “normal people”: he does not “swallow” the insult in silence, does not cry it out to his loved ones, does not offend the offender in response, but tries to explain to people that they are wrong, tries to understand why they did this, and show them that it is not good to do so. As I. Zolotussky exactly noted, "Shukshin's hero is always on guard ... of his own dignity, which is most precious to him" 9. The strange general deafness, the unjustified aggressiveness of the "wall of people" gradually brings him to the state in which he can commit a crime, hammer his truth into the head of a person who does not hear words with a hammer. The question that torments the hero the most is: "What is happening to people?" Resentment makes him "put the very meaning of life on the priest," and this is typical of Shukshin's stories, in which everyday trifles grow to beingness.

They are all very different - these people are the heroes of a great novel about Russia. They are looking for, banging their heads against the wall, destroying and erecting churches, drinking, shooting, singing with joy under a steamy rain, forgiving people casual and deliberate offenses, caressing children and dreaming of doing something significant. But the main thing is that they all break out of the framework of an organized existence in which "all people live the same."

Shukshin himself admitted: “It is most interesting for me to investigate the character of a non-dogmatic person, a person who is not planted on the science of behavior. Such a person is impulsive, amenable to impulses, and therefore, extremely natural. But he always has an intelligent soul. " The heroes of the writer are really impulsive and extremely natural. And they do this because of internal moral concepts, which they themselves may not have realized yet. They have a heightened reaction to humiliation of man by man. This reaction takes on a variety of forms. Sometimes it leads to the most unexpected results.

Conclusion.

Vasily Makarovich can rightfully be called a "nugget" of the Altai land. It is like a precious stone that attracted people to itself with its natural talent. He lived excitedly, fiercely as if he felt behind the cold breath of death. And in half a century there was no such artist who burst into the human soul.

Vasily Shukshin managed to create a new image of the peasant in his prose. He is a man of great soul, he is independent and a little eccentric. These qualities of Shukshin's heroes bribe us when we read his works. “If we are strong in anything and truly smart, it’s in a good deed,” said Vasily Shukshin. The work of the writer himself clearly proves this.