House on the embankment. December essay theme house - materials for preparing for the exam in the Russian language Proverbs and sayings

Yuri Trifonov's story "House on the Embankment" is included in the collection "Moscow Tales", on which the author worked in the 1970s. At this time in Russia it was fashionable to write about the large-scale, global in human life. And writers fulfilling a social order were always in demand by the state, their works were sold in large editions, they had the right to count on a comfortable life. Trifonov was not interested in social orders, he was never an opportunist. Along with A.P. Chekhov, F.M.Dostoevsky and many other creators of Russian literature, he is concerned about philosophical problems.

Years pass, centuries pass - these questions remain unanswered, again and again arise before people. A person and an era ... A person and time ... This is the time that takes a person into submission, as it were, frees a person from responsibility, a time for which it is convenient to blame everything. “It is not Glebov's fault, and not the people,” is the cruel inner monologue of Glebov, the protagonist of the story, “but the times. Let him not greet at times ”. This time is capable of abruptly changing the fate of a person, raising him or dropping him to where now, thirty-five years after his "reign" in the school, a man who has sunk to the bottom is squatting. Trifonov considers the time from the late 1930s to the early 1950s not only as a specific era, but also as a fertile soil that has formed such a phenomenon of our time as Vadim Glebov. The writer is not a pessimist, but also not an optimist: a person, in his opinion, is an object and at the same time a subject of an era, that is, forms it. These problems worried many Russian classics. They occupy one of the central places in the work of Trifonov. The author himself said this about his works: “My prose is not about some bourgeoisie, but about you and me. It is about how each person is associated with time. " Yuri Valentinovich wants to analyze the state of the human spirit. The problem of what happens to a person, with his ideas throughout life, is revealed in the story "House on the Embankment" on the example of Vadim Glebov.

Glebov's childhood determined his future fate. Vadim was born and raised in a small two-story house, which was on the same street as the house on the embankment - "a gray whopper, like a whole city or even a whole country." Even in those distant times, Glebov began to experience "the suffering of inadequacy", envy of the inhabitants of this house. With all his might, he reached out to them, tried to please. As a result, Levka Shulepnikov even became his best friend, everyone willingly accepted him into their company.

The natural desire of a person to please others, to prove himself well, to impress Glebov is gradually developing into real conformism. “He was something suitable for everyone. And such, and such, and with those, and with these, and not evil, and not kind, and not very greedy, and not very generous, and not cowardly, and not a daredevil, and it seems that he is not cunning, but at that time is not a simpleton. He could be friends with Levka and Manyunya, although Levka and Manyunya could not stand each other. "

From childhood, Vadim did not differ in particular firmness of spirit, he was a cowardly and indecisive person. Many times in childhood his cowardice, vile deeds got away with him. And in the case of the beating of Shulepnikov, and when Vadim betrayed the Bear, and when he told Sonya about walking on the railing so that she would save him, Glebov always acted like a coward and a scoundrel, and he always came out dry. These qualities progressed in him. with incredible strength. Never in his life did he commit a bold act, he was always a mediocre person, not representing anything of himself as a person. He is used to hiding behind other people's backs, shifting the entire burden of responsibility and decisions onto others, he is used to letting things go. Children's indecision turns into extreme spinelessness, spinelessness.

In his student years, the envy of the prosperous, wealthy Ganchuks, the Shulepnikovs, eats up his soul, displacing the last remnants of morality, love and compassion. Glebov is degrading more and more. During these years, as before, he tries to gain confidence, to please everyone, and especially the Ganchuks. He does it well: childhood lessons were not in vain. Glebov became a frequent guest in their house, everyone got used to him, considered him a friend of the family. Sonya fell in love with him with all her heart and was cruelly mistaken: there is no place for love in the soul of an egoist. Concepts such as pure, sincere love, friendship were alien to Glebov: the pursuit of the material corroded everything spiritual in him. Without much torment, he betrays Ganchuk, abandons Sonya, ruining her for the rest of her life.

But Vadim Glebov still got his way. “People who know how to be in the most ingenious way in no way advance far. The whole point is that those who deal with them re-imagine and draw on no background everything that their desires and their fears suggest to them. They are never lucky. ” He became a man, became a doctor of philological sciences. Now he has everything: a good apartment, expensive, rare furniture, high social status. The main thing is missing: warm, tender relations in the family, mutual understanding with loved ones. But Glebov seems to be happy. True, sometimes conscience still wakes up. She stabs Vadim with memories of his vile, low, cowardly actions. The past, which Glebov so wanted to forget, to move away from himself, from which he so wanted to disown himself, nevertheless emerges in his memory. But Glebov, it seems, learned to adapt to his own conscience. He always reserves the right to say something like: “What, in fact, am I to blame? Circumstances turned out that way, I did everything I could. " Or: "No wonder she's in the hospital, because she has such a bad inheritance."

But even in childhood, the beginning of the transformation of Vadik Glebov into absolutely no spineless scoundrel-conformist was laid, who, however, now lives comfortably and travels to various international congresses. He walked towards his goal for a long time and stubbornly, or maybe, on the contrary, did not show any moral and volitional qualities ...

Yuri Trifonov in his story "House on the Embankment" remarkably managed to reveal the problem of man and time. The writer loves to combine time, past and present, shows that the past cannot be cut off: the whole person comes out of there, and some invisible thread always connects the person's past with the present, defining his future.
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"House on the Embankment" is one of the most poignant and topical works of the 20th century. The story provides a deep analysis of the nature of fear, the degradation of people under the yoke of a totalitarian system. Genuine interest in a person, the desire to show him in the most dramatic events of his life and turning points in history put the story of Yuri Trifonov among the best works of world literature.

In 1976, the magazine Druzhba Narodov published Trifonov's story " House on the embankment", One of the most notable poignant works of the 1970s. The story gave the deepest psychological analysis of the nature of fear, the nature of the degradation of people under the yoke of a totalitarian system. “The times were like that, even if they don't greet at times,” thinks Vadim Glebov, one of the “antiheroes” of the story. Justification by time and circumstances is typical for many Trifonov characters. Trifonov emphasizes that Glebov is driven by motives that are as personal as they bear the stamp of the era: the thirst for power, supremacy, which is associated with the possession of material goods, envy, fear, etc. The author sees the reasons for his betrayal and moral fall not only in fear that his career could be interrupted, but also in fear in which the whole country was immersed, mutilated by Stalin's terror.

Its publication became an event in literary and social life. By the example of the fate of one of the residents of the famous Moscow house, where the families of party workers lived (including the Trifonov family during his childhood), the writer showed the mechanism of the formation of conformist public consciousness. The story of the successful critic Glebov, who once did not stand up for his teacher-professor, became in the novel the story of the psychological self-justification of betrayal. Unlike the hero, the author refused to justify the betrayal by the cruel historical circumstances of the 1930s – 1940s.

Exactly " House on the embankment"Brought Yuri Trifonov great fame - he described the life and customs of the inhabitants of the government house of the 1930s, many of whom, having moved into comfortable apartments (at that time, almost all Muscovites lived in communal apartments without amenities), directly from there fell into the Stalinist camps and were shot. The writer's family also lived in the same house, which after more than forty years became known to the whole world as "House on the Embankment" (after the title of Trifonov's story). In 2003, a memorial plaque was installed on the house: “The outstanding writer Yuri Valentinovich Trifonov lived in this house from 1931 to 1939 and wrote the novel“ House on the Embankment ”about it."
The book is set in Moscow and unfolds in several timelines: mid-1930s, second half of 1940s, early 1970s. Trifonov's prose is often autobiographical (in 1937-1938 Yuri Trifonov's parents and uncle were repressed, the writer's grandmother - a representative of the "old guard" of the Bolsheviks, did not change her beliefs despite what was happening with her family, remained endlessly devoted to the Lenin-Stalin cause).
The main theme is the fate of the intelligentsia during the years of Stalin's rule, comprehension of the consequences of these years for the morality of the nation. Trifonov's stories, almost without saying anything directly, in plain text, nevertheless, with rare accuracy and skill, reflected the world of the Soviet citizen of the late 1960s - mid 1970s. Trifonov's writing style is unhurried, reflective; he often uses retrospective and change of perspective; The writer places the main emphasis on a person with his shortcomings and doubts, refusing any clearly expressed socio-political assessment.
Burning envy, betrayal, prudence, fear, thirst for power, possession of material goods - everything is intertwined in the motives of the characters, which are both personal and bear the stamp of the entire Stalin era. This is how it turns out - life is developing quite well, but everything that dreamed of and that then came to the hero did not bring joy, "because it took so much energy and that irreplaceable thing called life."

Elizaveta Alexandrova

The title of the story "House on the Embankment" is the literary name of a really existing house located at 2 Serafimovich Street on the Bersenevskaya Embankment of the Moskva River. On June 24, 1927, it became known that all the living spaces occupied by employees of the state apparatus were overpopulated. The only way out of this situation was construction, reflecting the scale of the era and the statesmen themselves, a house, a Government House. The complex of the 12-storey building included, in addition to 505 apartments, several shops, a laundry, a clinic, a kindergarten, a post office, a savings bank, and a Udarnik cinema. The apartments had oak parquet flooring, art paintings on the ceilings. The frescoes were made by painters-restorers specially invited from the Hermitage. Eleventh entrance of the non-residential building. There is not a single apartment in it. There is no elevator in the stairwell. It is assumed that the apartments of residents of other entrances were either tapped from here, or some secret rooms were hidden behind the walls. In addition to this entrance, the house had secret apartments for the Chekists. The security officers worked in the house under the guise of commandants, concierges, elevators, and in their apartments they met with their informants or hid mysterious tenants. Many residents of the house were persecuted by their families.

The fact that many of the author's works are autobiographical should not be overlooked. As a child, Trifonov had a company of four friends - Leva Fedotov, Oleg Salkovsky, Mikhail Korshunov and Yuri Trifonov himself. Each of them served as a prototype for the heroes of the story "House on the Embankment". Leva Fedotov, was the "genius of this place", and later became the prototype Anton Ovchinnikov... Lev was a childhood friend of Trifonov. Yuri Trifonov wrote about Fedotov: “He was so different from everyone else! From his boyish years, he has rapidly, passionately developed his personality in all directions, hastily absorbed all sciences, all arts, all books, all music, the whole world, as if he was afraid of being late somewhere. At the age of twelve, he lived with the feeling that he had very little time, and there was an incredible amount of time to do. " He was especially fond of mineralogy, paleontology, oceanography, painted beautifully, his watercolors were on display, he was in love with symphonic music, wrote novels in thick notebooks with calico bindings. He was known at school as the local Humboldt, as Leonardo from the 7th "B". Fedotov also arranged literary contests, competing in the mastery of the word with the young Trifonov. Moreover, he established a courtyard Secret Society for the Test of Will (TOIV), which could only be entered by walking along the railing of the balcony of the tenth floor. There were other crazy things too. In addition to walking on the railing, he also tempered his will by walking in short breeches in winter. Leva Fedotov became famous thanks to his diaries, which were discovered after the war. There are a total of 15 general numbered notebooks. 17 days before the German attack on the USSR, he described in his diary when and how the war would begin, at what pace the German troops would advance and where they would be stopped.

Anton Ovchinnikov in the story completely repeats the fate of Fedotov. “Anton was a musician, an admirer of Verdi, he could sing the whole opera from memory ... he was an artist, the best in school ... he was also a writer of science fiction novels devoted to the study of caves and archaeological antiquities, he was also interested in paleontology, oceanography, geography and partly mineralogy ... Anton lived modestly, in a one-room apartment furnished with simple government furniture "; "He was stocky, short, one of the smallest in the class, and besides, he wore short pants until late cold weather, tempering his body."

Prototype Khimiusa Mikhail Korshunov appeared, who also wrote several works about the Government House. Prototype Walrus- Oleg Salkovsky, who, just like in the work, was a loose fat man and could not participate in the tests of the TOIV society. According to Olga Trifonova, the writer's wife, the prototype of another hero of the story is Levka Shulepnikova, it could be Seryozha Savitsky, who, like Shulepa, was from a prosperous family, but ended up as a homeless person. Levka Shulepnikov's mother, Alina Fedorovna, also has a real prototype. “Alina Fyodorovna was tall, dark-skinned, spoke sternly, looked proudly. … Something in between the boyarynya Morozova and the Queen of Spades, ”writes Trifonov in the story. “Yuri Valentinovich knew such a woman - a beauty, an aristocrat, the daughter of a white general. She constantly married employees of the NKVD - those who were investigating the case of her next husband, ”- prove the words of Olga Trifonova.

In the story of Vadim Glebov from the third person, the author weaves memories of fleeting moments in the life of a certain hero-storyteller, who gives his personal assessment of everything that happens and those around him, analyzes everything through the prism of his perception.

This character also belonged to their company, his name is not mentioned. The prototypes of the friends of the hero-narrator were the friends of Trifonov himself. Trifonov lived for some time in the same house on the embankment, like the hero-narrator, and even moved from this house in the same month and year. It can be assumed that this is the voice of the author himself, Yuri Trifonov.

The author uses a special space-time composition: he does not give out all the episodes in order, but alternates between different times, angles of vision. The composition in the work has a circular character, it begins and ends with the time when “none of these boys are now in this world. Who died in the war, who died from illness, others disappeared unknown. And some, although they live, have turned into other people. " The story is divided into semantic parts, each of which can be attributed to one of three periods - approximately 1937, 1947 or 1972. These are school years, student years and "present" time.

Thus, Trifonov draws parallels between the episodes from the life of both heroes. He shows certain events from different points of view, telling from the first person - through the eyes of the "I" -hero, then from the third, describing the life of Vadim Glebov.

Most likely, in order to avoid the subjectivity of the narrative on behalf of one hero, he tries to show readers as widely as possible the era in which the heroes live, their way of life, conditions. An almost elusive thin thread, this "leaden" feeling of pressure on people is stretched through the entire work. He manages to convey the mood that reigned during the totalitarian regime, without describing violent political scenes such as mass repression, but only everyday, everyday life.

Trifonov also shows the character of Glebov in contrast to the "I" - the hero. The hero is a resident of a status house, to which Vadka Baton from his "Deryugin courtyard" is so eager to, but at the same time the hero does not boast of it, does not flaunt it. Glebov has to constantly visit this house, see all the luxury of the environment, the standard of living: "Alina Fedorovna, Levka Shulepa's mother, could poke a fork into a piece of cake and move it away, saying:" In my opinion, the cake is stale, "and the cake was taken away" ... This caused misunderstanding, indignation of Vadim. He could not understand this disdain. Everything for him was new, wild, unexpected, and, returning to his dilapidated house, he felt the injustice even stronger, deeper. Then, for the first time, the deep feelings of Glebov, his dark side, are revealed to the reader. Envy arose in him, that painful feeling that he would then carry through his whole life.

An example for imitation of the lyrical hero was Anton Ovchinnikov. A person of broad interests, talented and hardworking. And Glebov aspired to Levka Shulepnikov, who loved to lie, was frivolous, but at the same time kind, open, companionable person. This characterizes them as people of different ideological views and, therefore, antipodes. The same Sonya, who was selflessly in love with Glebov, they perceived differently. “I” considered her ideal: “Where else can I meet a person like Sonya? Yes, of course, nowhere in the whole world. It is pointless even to search and hope for something. Of course, there are people, maybe more beautiful than Sonya, they have long braids, blue eyes, some special eyelashes, but all this is nonsense. Because they are not suitable for Sonya. " For Glebov, "Sonya was just an addition to that sunny, multifaceted, variegated, which was called childhood." He did not belittle Sonya's merits, but at the same time did not properly appreciate her feelings for him, played with them, adjusting to himself. And although then he seems to begin to feel attraction to her, but this is nothing more than the result of self-hypnosis. In childhood, the lyrical hero has a dislike for Glebov, due to jealousy. He realizes that Glebov is not worthy of Sonya's love, looks for flaws in him, but sometimes speaks out quite objectively about Vadim's behavior: “He was absolutely nothing, Vadik Baton. But this, as I realized later, is a rare gift: to be nothing. People who know how to be in the most ingenious way in no way advance far. The whole point is that those who deal with them re-imagine and draw on no background everything that their desires and their fears suggest to them. " This is a well-founded point of view. Father raised Glebov on the "tram rule": "What he said, laughing, in the form of a joke -" My children, follow the tram rule - don't stick your head out! " - was not just joke. There was a secret wisdom that he was gradually, shyly and, as it were, unconsciously trying to instill. " It can be concluded that Glebov was originally brought up in this way: conformism is felt in his actions throughout his life. As in childhood - the episode with the questioning of Levka's stepfather about the attack on his son, when he named several culprits, although he himself was partly the instigator, but did not admit this, so in his maturity, when he did not protect his mentor, good friend, Professor Ganchuk ... Then the provocateurs Druzyaev and Shireiko, playing in this capacity of Glebov, persuaded him to a kind of betrayal. Although he had a choice, due to his conformism, Glebov remained on the sidelines and neither defended the professor, fearing not to receive the Griboyedov scholarship, nor went against him, since he realized that he would ruin friendly relations with the Ganchuk family, but simply did not come and did not speak. justifying himself by the death of a loved one. He constantly finds excuses for his unworthy actions.

Vadim Glebov subsequently does not want to remember the moments of the past. He hopes that if he does not remember, then it will cease to exist in his mind. But "I" - the hero is not afraid of memories, he is sure that they brought a useful experience, and even if they are not remembered, they will not disappear anywhere.

In Trifonov's work, he very accurately managed to recreate the atmosphere of that time, to show the greatness of the Government House as an independent world, to convey to the reader its role in the fate of the heroes, and, as for Glebov, to show an individual person against the background of the era, leaving his actions to the readers' judgment.

Bibliography.

1. Trifonov Y. House on the embankment. M .: Children's literature, 1991.

2. Oklyansky Yu. Yuri Trifonov. M., Soviet Russia, 1987.

3. Vukolov prose in the senior class. M .: Education, 2002.

Composition

In the artistic world of Yuri Trifonov (1925 - 1981), a special place has always been occupied by images of childhood - the time of personality formation. Starting from the very first stories, childhood and adolescence were the criteria by which the writer seemed to test reality for humanity and justice, or rather, for inhumanity and injustice. The famous words of Dostoevsky about the "teardrop of a child" can be put as an epigraph to all of Trifonov's work: "the scarlet, oozing flesh of childhood" - this is what the story "House on the Embankment" says. Vulnerable, we add. To the question of the 1975 Komsomolskaya Pravda questionnaire about what was the worst loss at the age of sixteen, Trifonov replied: “The loss of parents.”

From story to story, from novel to novel, this shock, this trauma, this painful threshold of his young heroes passes - the loss of parents, dividing their life into unequal parts: an isolated and prosperous childhood and immersion in the common suffering of “adulthood”.

He began publishing early, early became a professional writer; but the reader has really discovered Trifonov since the beginning of the 70s. I opened it and accepted it, because I recognized myself - and I was hurt. Trifonov created his own world in prose, which was so close to the world of the city in which we live that sometimes readers and critics forgot that this was literature, and not real reality, and treated his heroes as their immediate contemporaries.

Trifonov's prose is distinguished by an inner unity. Theme with variations. For example, the topic of exchange runs through all of Trifonov's things, right up to The Old Man. In the novel "Time and Place" all of Trifonov's prose is outlined - from "Students" to "Exchange", "Long Farewell", "Preliminary Results"; all Trifonov motives can be found there. “The repetition of themes is the development of the task, its growth,” Marina Tsvetaeva noted. That to Trifonov - the topic deepened, went in circles, returned, but on a different level. “I'm not interested in the horizontal lines of prose, but in its verticals,” Trifonov noted in one of his last stories.

Whatever material he turned to, be it modernity, the time of the civil war, the 30s of the twentieth century or the 70s of the nineteenth, he faced, first of all, the problem of the relationship between the individual and society, which means their mutual responsibility. Trifonov was a moralist - but not in the primitive sense of the word; not a prude or a dogmatist, no - he believed that a person is responsible for his actions, which make up the history of a people, a country; and society, the collective cannot, does not have the right to neglect the fate of an individual. Trifonov perceived modern reality as an era and persistently searched for the reasons for the change in public consciousness, stretching the thread further and further - into the depths of time. Historical thinking was peculiar to Trifonov; he subjected each specific social phenomenon to analysis, referring to reality, as a witness and historian of our time and a person who is deeply rooted in Russian history, not separable from it. While "village" prose was looking for its roots and origins, Trifonov was also looking for its "soil". "My soil is all that Russia has suffered through!" - Trifonov himself could have signed these words of his hero. Indeed, this was his soil, in the fate and suffering of the country his fate was shaped. Moreover, this soil began to nourish the root system of his books. The search for historical memory unites Trifonov with many contemporary Russian writers. At the same time, his memory was also his "home", family memory - a purely Moscow trait - inseparable from the memory of the country.

Yuri Trifonov, like other writers, as well as the entire literary process as a whole, of course, was influenced by time. But in his work, he not only honestly and truthfully reflected certain facts of our time, our reality, but sought to get to the bottom of the reasons for these facts.

The problem of tolerance and intolerance permeates, perhaps, almost all of Trifonov's "late" prose. The problem of trial and conviction, moreover, moral terror is posed in Students, Exchange, House on the Embankment, and in the novel The Old Man.

Trifonov's story "House on the Embankment", published by the magazine "Friendship of peoples" (1976, No. 1), is perhaps his most social thing. In this story, in its poignant content, there was more "novel" than in many swollen multi-page works, proudly designated by their authors as "novels."

The novel in Trifonov's new story was, first of all, the social and artistic development and comprehension of the past and the present as an interconnected process. In an interview that followed the publication of Houses on the Embankment, the writer himself explained his creative task as follows: “To see, to depict the running of time, to understand what it does to people, how everything around it changes ... Time is a mysterious phenomenon, to understand and imagine it like this it is difficult how to imagine infinity ... But time is what we bathe in every day, every minute ... I want the reader to understand: this mysterious “thread connecting times” passes through you and me, that this is the nerve of history ”. In a conversation with R. Schroeder, Trifonov emphasized: “I know that history is present in every day, in every human destiny. It lies in wide, invisible, and sometimes quite clearly visible layers in everything that forms the present ... The past is present both in the present and in the future. "

Time in "House on the Embankment" determines and directs the development of the plot and the development of characters, people manifest themselves in time; time is the main director of events. The prologue of the story is frankly symbolic and immediately determines the distance: “... the shores are changing, the mountains are receding, the forests are thinning and flying around, the sky is darkening, the cold is approaching, one must hurry, hurry - and there is no strength to look back at something that stopped and froze, like a cloud at the edge of the sky. " This is an epic time, impartial to whether the "raking hands" will emerge in its indifferent stream.

The main time of the story is the social time on which the heroes of the story feel their dependence. This is the time that, taking a person into submission, frees the person from responsibility, as it were, the time for which it is convenient to blame everything. “It is not Glebov's fault, and not the people,” is the cruel inner monologue of Glebov, the protagonist of the story, “but the times. Let him not greet at times ”. This social time is capable of drastically changing the fate of a person, elevating him or dropping him to where now, thirty-five years after his "reign" at school, a man who has sunk to the bottom, sits down on his haunches, literally and figuratively. Trifonov considers the time from the end of the 30s to the beginning of the 50s not only as a specific era, but also as a fertile soil that has formed such a phenomenon of our time as Vadim Glebov. The writer is far from pessimism, he does not fall into rosy optimism either: a person, in his opinion, is an object and - at the same time - a subject of an era, that is, forms it.

From the burning summer of 1972, Trifonov brings Glebov back to those times with which Shulepnikov still "greeted".

Trifonov moves the story from the present to the past, and from the modern Glebov he restores Glebov twenty-five years ago; but through one layer the other deliberately shines through. The portrait of Glebov is deliberately doubled by the author: “Almost a quarter of a century ago, when Vadim Aleksandrovich Glebov was not yet bald, full, with breasts like a woman, with thick thighs, with a big belly and sagging shoulders ... when he was not yet tormented by heartburn in the morning, dizziness, a feeling of weakness in the whole body, when his liver was functioning normally and he could eat fatty foods, not very fresh meat, drink as much wine and vodka as he wanted, without fear of the consequences ... when he was quick on his leg, bony, with long hair, in round glasses, his appearance resembled a commoner of the seventies ... in those days ... he himself was unlike himself and inconspicuous, like a caterpillar. "

Trifonov visibly, in detail, right down to physiology and anatomy, to "livers", shows how time flows with a heavy liquid through a person who looks like a vessel with a missing bottom, connected to the system; how it changes its structure; shines through that caterpillar, from which the time of today's Glebov - a doctor of sciences, comfortably settled in life, was nurtured. And, overturning the action a quarter of a century ago, the writer, as it were, stops the moment.

From the result, Trifonov returns to the reason, to the roots, to the origins of the "Glebovism". He returns the hero to what he, Glebov, most of all hates in his life and what he does not want to remember now - to childhood and adolescence. And the look "from here", from the 70s, allows to remotely consider not random, but regular features, allows the author to focus his attention on the image of the time of the 30s - 40s.

Trifonov limits the artistic space. Basically, the action takes place on a small patch between a tall gray house on Bersenevskaya embankment, a gloomy, gloomy building, similar to a modernized bastion, built in the late 1920s for responsible workers (Shulepnikov lives there with his stepfather, where Professor Ganchuk's apartment is located), - and a nondescript two-story house in the Deryuginsky courtyard, where the Gleb family lives.

Two houses and a playground between them form a whole world with their heroes, passions, relationships, contrasting social life. A large gray house darkening an alley is multi-storey. Life in it, as it were, stratifies, following the floor-by-floor hierarchy. Modern life - with family quarrels and troubles, pregnancies, scarves, thrift stores and grocery stores not only highlights the past, but also enriches it, gives a sense of the real flow of life. Historical, “everyday” problems are impossible in an airless space; and everyday life is the air in which memory lives, history lives; everyday life of modern life is not only a springboard for memories.

The house on the embankment is outwardly immovable, but not stable. Everything in him is in a state of intense inner movement, struggle. “Everyone scattered from the house, in every direction,” - says Shulepnikov to Glebov, having met with him after the war. Some are evicted from their homes as the lyrical hero of the story: the departure scene is one of the key scenes in the story: this is a change in social status, and farewell to childhood, growing up; a turning point, a transition to another world - the hero is no longer in the house, but not yet in a new place, in the rain, in a truck.

The big house and the small one define the boundaries of Glebov's social claims and migrations. Since childhood, he is overwhelmed with a thirst to achieve a different position - not a guest. And the owner is in a big house. The memories that the young heroes of the story pass through are associated with the house on the embankment and with the Deryuginsky courtyard. The tests, as it were, foreshadow the serious that the children will have to experience later: separation from their parents, difficult conditions of military life, death at the front.

The collapse of someone else's life brings evil joy to Glebov: Although he himself has not yet achieved anything, others have already lost their homes. This means that not everything is so firmly fixed in this life, and Glebov has hope! It is the house that determines the values ​​of human life for Glebov. And the path that Glebov takes in the story is the path to home, to the vital territory that he longs to capture, to a higher social status that he wants to acquire. He feels the inaccessibility of a large house extremely painfully: “Glebov was not very eager to visit the guys who lived in the big house, not that reluctantly, he walked eagerly, but also with apprehension, because the elevators in the stairwells always looked with apprehensively and asked: "Who are you going to?" Glebov felt like an intruder caught red-handed. And it was almost never possible to know what the answer would be in the apartment ... "

Returning to his place, in the Deryuginskoye courtyard, Glebov, "excited, described what kind of chandelier was in the dining room of Shulepnikov's apartment, and what corridor along which one could ride a bicycle."

Glebov's father, a grated and experienced man, is a convinced conformist. The main rule of life, which he teaches Glebov, - caution - also has the character of "spatial self-restraint:" My children, follow the tram rule - do not stick your head out! " The hermetic wisdom of the father was born of a "long-standing and unresolved fear" of life.

The conflict in the "House on the Embankment" between "decent" Ganchuk, who treat everything with a "tinge of secret superiority", and Druzyaev-Shireiko, to whom Glebov internally adjoins, changing Ganchuk to Druzyaev, as if on a new round returns the "Exchange" conflict - between Dmitrievs and Lukyanovs. In this conflict, it would seem, Glebov is located exactly in the middle, at a crossroads, he can turn this way and that. But Glebov does not want to decide anything; for him everything seems to be decided by fate: on the eve of the performance, which Druzyaev so demands from Glebov, Nila's grandmother dies - an inconspicuous, quiet old woman with a bunch of yellow hair on the back of her head. And everything is decided by itself: Glebov doesn't have to go anywhere.

The house on the embankment disappears from the life of Glebov, the house, which seemed so strong, in fact turned out to be fragile, not protected from anything, it stands on the embankment, on the very edge of the land, by the water; and this is not just a random location, but a symbol deliberately chosen by the writer. The house goes under the water of time, like a kind of Atlantis, with its heroes, passions, conflicts: “the waves closed over it” - these words, addressed by the author to Levka Shulepnikov, can be applied to the whole house. One by one, its inhabitants disappear from life: Anton and Khimius died in the war; the elder Shulepnikov was found dead under unclear circumstances; Yulia Mikhailovna died, Sonya first went to the home for the mentally ill and also died ... "The house collapsed."

With the disappearance of the house, Glebov also deliberately forgets everything, not only surviving this flood, but also reaching new prestigious heights precisely because he “tried not to remember. What was not remembered ceased to exist. " He then lived "a life that did not exist," - emphasizes Trifonov.

The story "House on the Embankment" became a turning point for the writer in many ways. Trifonov sharply re-emphasizes the previous motives, finds a new type, not previously studied in the literature, generalizing the social phenomenon of "Glebovism", analyzes social changes through a single human personality. The idea finally found its artistic expression. After all, Sergei Troitsky's reasoning about man as a thread of history can also be attributed to Glebov: he is the thread that stretched from the 30s into the 70s. The historical view of things, developed by the writer in Impatience, on material close to modernity, gives a new artistic result: Trifonov becomes a historian - chronicler, testifying to modernity.

But this is not the only role of the "House on the Embankment" in the work of Trifonov. In this story, the writer underwent a critical rethinking of his "beginning" - the story "Students".

Memory or oblivion - this is how you can define the deep conflict of the novel "The Old Man", which followed the story "House on the Embankment". In the novel "The Old Man" Trifonov combined the genre of the urban story and the genre of historical narration into one whole. iical storytelling.

Memory, which Professor Ganchuk refuses, becomes the main content of the life of Pavel Evgrafovich Letunov, the protagonist of the novel "The Old Man". Memory stretches a thread from the stifling summer of 1972 to the heat of revolution and civil war. Joy and self-torture, pain and immortality - all this is combined in memory, if it comes with the light of conscience. Pavel Evgrafovich is already on the edge of the abyss, has come to the end of his life, and his memory reveals what the crafty consciousness could hide or hide earlier. In two layers of time, embodied in two streams of style, the narrative of the novel moves. The action takes place in a summer cottage village, in an old wooden house where Pavel Evgrafovich Letunov lives with his sprawling family. The everyday conflict of the novel in the present tense is a conflict with neighbors in a dacha cooperative, associated with obtaining a vacant dacha house. Fifty-year-old children insist that Pavel Evgrafovich show some efforts to master the new "living space". “We are tired of our eternal blissful begging. Why should we live the worst of all, the closest of all, the pity of all? " The question rises to almost "moral" heights. “Keep in mind,” the children threaten, “there will be sin on your conscience. You think about peace of mind, not about your grandchildren. But it’s for them to live, not for you and me ”. All this happens because Pavel Evgrafovich refused to fulfill their order “to talk to the chairman of the board about this unfortunate house of Agrafena Lukinichna. But he could not, could not, completely and irrevocably could not. How could he? .. Against the memory of Gali? It seems to them that if the mother is not alive, it means that her conscience is gone. And everything starts from scratch. "

“Memory from the deepest depths,” which suddenly flooded into Letunov after receiving a letter from Asya, with whom he was in love in a hot revolutionary time, - this memory opposes the highly topical and very popular life concept like “Everything starts from scratch”. No, nothing passes, nothing disappears. The act of remembering becomes an ethical, moral act. Although this memory will have its own specific problems and characteristic failures - but more on that later.

Since the two main lines of the novel are connected by the life and memory of Letunov, the novel seems to follow the twists and turns of his memory; the epic beginning is closely intertwined with Letunov's inner monologue about the past and, on his behalf, leading lyrical digressions.

Trifonov, as it were, inserts into the novel the tried and tested genre of the "Moscow" story, with all its motives, the old complex of problems, but illuminates everything with the tragic historical background against which the current melodramatic passions boil around the ill-fated little house. The Serebryany Bor suburban area near Moscow is a favorite setting for Trifonov's prose. Children's fears and children's love, the first trials and life losses - all this is fixed in the mind of Trifonov in the image of the suburban village of Sokoliny Bor, the Krasny Partizan cooperative, somewhere not far from the Sokol metro station; a place where you can come by trolleybus - Trifonov needs an accurate topography here, just as in the case of the gray house on Bersenevskaya embankment near the Udarnik cinema.

Time in the village goes not according to years and eras, but according to hours and minutes. Letunov’s children and grandchildren’s classes are momentary, and he himself goes to dinner with pots, fearing to be late, receives it, drinks tea, hears how the children, killing time, play cards, engage in useless and go nowhere chatter - live their lives. Sometimes disputes on a historical topic break out that are not vital for the disputants - for example, scratching tongues, another round in a waste of time.

Is it possible to justify a person's actions at times? That is, is it possible to hide behind the times, and then, when they pass, “do not greet them,” as the resourceful Glebov suggested?

This is the main, pivotal theme and pivotal problem of the novel "The Old Man". What is a person - a splinter of circumstances, a playground of the elements, or an active personality, capable of at least to some extent expanding the “time frame” and influencing the historical process? “Man is doomed, time triumphs,” Trifonov remarked bitterly. "But all the same, all the same!" This is “all the same”, stubbornly repeated twice, this is “but”, stubbornly resisting ”! What - "all the same"? “… Despite the dangers, one must remember - here is the only possibility of competition with time” - this is how the writer answered the question about the doom of human efforts.

History and time dominate Letunov, dictating their will to him, but fate, as it seems to Letunov, could have turned completely differently: “An insignificant little thing, like a slight turn of an arrow, throws a locomotive from one path to another, and instead of Rostov you end up in Warsaw ... I there was a boy drunk with mighty time. "

Note that here there appears a train motive, insistent for Trifonov's prose, symbolizing the fate of the hero. “The train is an allegory of life for Y. Trifonov. If the hero jumped on the train, it means he had time, life was good, ”writes I. Zolotogussky. But this train is still not an allegory of life, but an illusion of choice, which its heroes console themselves with. So it seems to Letunov that the train could turn to Warsaw; in fact, he inevitably ("lava", "stream") follows his spontaneous path, dragging the hero along with him.

Letunov feels his subordination to the burning stream. This subordination reminds him of powerlessness before death - also controlled by the elements. At the bedside of his mother, dying of pneumonia in hungry January 1918, he thinks: “Nothing can be done. You can kill a million people, overthrow the tsar, arrange a great revolution, blow up half the world with dynamite, but you cannot save one person. " And, nevertheless, people chose the path to the revolution and the path to the revolution; and Trifonov shows different roads, different destinies, in general, and shaped time - what seems to be an element, a stream. Trifonov analyzes human behavior and capabilities within the historical process, traces the dialectic of the relationship between personality and history.

Shura, Alexander Danilovich Pimenov, a crystal clear Bolshevik (ideal of a revolutionary for Trifonov), carefully delves into the essence of the matter connected with the life of people. "Shura is trying to object: it is not easy to make out who is counter-revolutionary and who is not ... Each case must be carefully checked, because it is about the fate of people ..." But people like Shura are surrounded by completely different people: Shigontsev, a man with a skull resembling unbaked bread ; Braslavsky, who wants to “go through Carthage” on the hot land: “Do you know why the revolutionary court was established? For the punishment of the enemies of the people, and not for doubts and trials. " Shigontsev and Braslavsky also “rely” on history, see themselves as historical figures: “there is no need to be afraid of blood! Milk serves as food for children, and blood is food for children of freedom, said Deputy Julien ... "

But Shura, and with him Trifonov, checks historical justice at the cost of the life of a single person. So Shura is trying to cancel the shooting of the hostages and the local teacher Slaboserdov, who warns the revolutionaries against careless actions to carry out the issued directive. Braslavsky and others like him immediately decide to let Slaboserdov flow; Shura does not agree.

Revolutionary and historical justice is tested on the Weak-hearted. “Shura whispers:“ Why don't you see, unfortunate fools, what will happen tomorrow? Buried their foreheads in today. And our suffering is for the sake of something else, for the sake of tomorrow ... ”The true historical consciousness is inherent in Shura; Shigontsev and Braslavsky do not see the prospects for their actions, and therefore are doomed. They, like Kandaurov (in their own way, of course), are fixed only in the current moment and are now going “All the way”, without thinking about the past (about the history of the Cossacks, which must not be forgotten, which is what Slaboserdov says.

History and man, revolutionary necessity - and the price of human life. Trifonov's heroes, who are directly involved in the revolution and civil war, are heroes - ideologists who build the concept of man and history, theorists who put their idea into practice.

Migulin is a very colorful figure, and Trifonov could well have put him in the center of the novel. He is truly a hero of the novel - with his tragic fate, an "old man" at forty-seven years old, the beloved of nineteen-year-old Asya, who has loved him for life. The life of Migulin, a passionate, indomitable person, is opposed in the structure of the novel to Kandaurov. Kandaurov in the novel is the center of the present; Migulin is the center of the past. The ruthless author's court and the death sentence against Kandaurov oppose the trial of Migulin, whose personality, born of history, belongs to history: the controversial figure of Migulin remained in her, although the person died. The tragic irony of life, however, lies precisely in the fact that it is the Migulins who perish, and the Kandaurovs are alive and feel great. The doom of Kandaurov is, after all, some violence of the artist over the truth of life; desire, which Trifonov is trying to pass off as reality.

The novel persistently repeats the definition of "old man": Migulin is called an old man, an old man at 30 is a convict; the old man is the age that constantly attracts Trifonov's attention; in old people, in his opinion, experience and time are condensed. In old people, historical time pours into the present: through the "life memories" of old people, Trifonov realizes the synthesis of history and modernity: through a single existence on the verge of death, he reveals the essence of historical phenomena and changes. “So many years ... But it’s only for this, perhaps, that the days were extended, for this I was saved, to collect from the shards, like a vase, and fill with wine, the sweetest. Called: Truth. All the truth, of course, all the years that dragged, flew ... all my losses, labors, all turbines, trenches, trees in the garden, holes dug, people around; everything is true, but there are clouds that sprinkle your garden, and there are storms thundering over the country, embracing half the world. Everything once whirled like a whirlwind, threw into the heavens, and never again did I swim in those heights ... And then what? All lack of time, oversight, lack of escape ... Youth, greed, misunderstanding, enjoyment of the minute ... My God, but there was never time! " S. Eremina and V. Piskunov noted the connection of this motive with another: "there is no time" - Kandaurov's leitmotif; there is no time for a balanced decision of Migulin's fate; and it is only in old age that Letunov (the irony of time!) finds time for conscientious work - not only over Migulin: this is only an excuse (albeit tragic) for Pavel Evgrafovich to understand himself to the end. Letunov is convinced that he is dealing with the Migulin case, and he is examining the Letunov case. In the epilogue of the novel - after Letunov's death - a certain graduate student appears - a historian who is writing a dissertation on Migulin. And this is what he thinks about (answering questions about the truth that Letunov constantly asks, asking history): “The truth is that the kindest Pavel Evgrafovich in the twenty-first, when asked by the investigator whether he admits the possibility of participating in a counter-revolutionary uprising, answered sincerely : "I admit it," but, of course, I forgot about it, nothing surprising, then everyone or almost everyone thought so ... "

The burning summer of 1972, so realistic and detailed in the novel, grows into a symbol: “Cast iron pressed, the forests were burning. Moscow was dying in suffocation, suffocating from gray, ashy, brown, reddish, black - at different hours of the day of different colors - haze that filled the streets and houses with a slowly flowing cloud, creeping like fog or poisonous gas, the smell of burning penetrated everywhere, it was no, the lakes were shallow, the river bared stones, the water barely oozed from the taps, the birds were not singing, life came to an end on this planet, killed by the sun. " The picture is both authentic, almost documentary, and generalizing, almost symbolic. The old man is before death, on the verge of nothingness, and the "black and red", mourning haze of this summer for him is both a harbinger of leaving, and a hellish fire that scorches a soul that has betrayed three times. Burning, fire, smoke, lack of air - these natural-emblematic images are persistent in the landscapes of the nineteenth year: "A distinct night horror in the steppe, where the burning of herbs and the smell of wormwood." “And the water has become like wormwood, and people are dying of bitterness,” mutters the maddened seminarian

We can say that Trifonov does not paint a landscape in the usual sense of the word, but a landscape of time. The social landscape in the story "Exchange" (river bank) or the urban social landscape in "House on the Embankment" preceded this landscape of the time, more accurate and - at the same time - more generalized. But The Old Man also has a vivid social landscape. As in "Exchange", this is a landscape of a dacha cooperative village on the river bank. The harsh, fire-breathing time passing through "years filled with hot coals and blazing with heat" destroys the children's dacha idyll, and Trifonov shows the passage of time through the landscape: "The old life collapsed and collapsed, like a sandy shore collapses - with a quiet noise and suddenly. ... The shore collapsed. Together with pines, benches, paths strewn with fine gray sand, white dust, cones, cigarette butts, pine needles, scraps of bus tickets, condoms, hairpins, pennies that fell out of the pockets of those who hugged here once on warm evenings. Everything flew down under the pressure of the water. "

The river bank is a persistent Trifonov image - an emblem. A house on the bank of a river, on an embankment in a city, or a dacha in the Moscow region, seems to be standing on the bank of an element that can suddenly demolish everything: both the house and the inhabitants. The element of a river, so deceptively quiet, as in the suburbs, or "black water" breathing winter steam, in Moscow, can treacherously undermine, bring down an unstable bank - and with it all previous life will collapse. “It was a lost place, although it looked like nothing special: pine trees, lilacs, fences, old summer cottages, a steep bank with benches that were moved away from the water every two years, because the sandy bank collapsed, and the road, rolled rough, in small pebbles , tar; The tar was laid in the mid-thirties ... On both sides of the Great Alley stretched sections of huge new dachas, and the pine trees, fenced in, now creaked and oozed resinous spirit in the heat for someone personally, sort of like musicians invited to play at a wedding. ... Yes, yes, it was a lost place. Or rather, a cursed place. Despite all its charms. Because here people died in a strange way: some drowned in the river during their nightly baths, others were struck by a sudden illness, and some took their own lives in the attic of their summer cottages. "

Trifonov, as it were, realizes, unfolds the metaphor - "to see the time" in everyday life. There are blind people, but there are also people who see him: "Why can't you see, unfortunate fools, what will happen tomorrow?" - says Shura; "How to see the time if you are in it?" - Letunov thinks, remembering the time when "red foam covers the eyes." For Shigontsev, "the gaze is still the same flaming, satanic" - that is, not seeing, blind in relation to the real historical process, clouded by frenzied fury; about the death of the Trotskyist Braslavsky, whose (telling detail) "By the evening his vision deteriorated", Shigontsev says: "It is his own fault, the blind devil!" "A gloomy second" is not only a figurative expression in the text, but also the real blindness of a person before the course of history, the inability to recognize and discern the essence of historical changes. : "It's my own fault, blind devil!" "A gloomy second" is not only a figurative expression in the text, but also the real blindness of a person before the course of history, the inability to recognize and discern the essence of historical changes.

Only blood involvement in history, says the novel "The Old Man" as a whole, is capable of leading a person beyond the bounds of a one-man, self-contained existence; only responsibility can save a person from daily night blindness, can make a blind person see, otherwise he “croaks like a frog in a swamp all his life. And in the affirmation of this historical responsibility of modern man, which keeps him from the tricks of comfortable unconsciousness, is the pathos of the novel.

The fate of Trifonov's prose can be called happy. It is read by the country where Trifonov's books have collected impressive circulations for thirty years; it is translated and published by East and West, Latin America and Africa. Due to the deep social specifics of the person he portrayed and the key moments of Russian history, he became interesting to readers all over the world. Whatever Trifonov wrote about - about the People's Will or about the civil war - he wanted to understand our time, convey its problems, reveal the causes of modern social phenomena. He perceived life as a single artistic process, where everything is connected, everything rhymes. And "man is a thread stretching through time, the thinnest nerve of history ...". Yuri Trifonov felt and remained such a "nerve of history" responding to pain.

The second direction is "Home".

On the FIPI website, the following definition is given: “Home” - the direction is aimed at thinking about the house as the most important value of being, rooted in the distant past and continues to remain a moral support in today's life. The ambiguous concept of "home" allows us to talk about the unity of small and large, the ratio of material and spiritual, external and internal.

HOUSE Is a polysemantic word ...
This is a family hearth. It is a symbol of reliability and safety, comfort and warmth. We were born in the parental home, our close and beloved people live here, our childhood passed here, we matured here ... We keep warm memories of the years spent in the parental home all our lives. In our home, we receive our first lessons in morality. It is not for nothing that they call him a cradle, a dock, a pier. In his home, the true "I" of a person is revealed, it is here that he sheds all his masks, behind which he is hiding in society. At home there is no point in pretending, because nothing threatens you in it.
This is a small homeland. In our hometown or village, we discover the world, we learn to love nature, we get to know people.
This is the Motherland. A great home for all the people. It is the Motherland-Mother who calls her sons and daughters for help during the terrible years of the war.
It is a haven for the soul, because the beauty and warmth of a home is closely related to the beauty of the soul of its owners. This is the spiritual beginning of our thoughts.
This is the Earth, and every corner of it is a part of a large and beautiful planet, which we must love as much as the parental home.

WHAT TOPICS OF ESSAYS COULD BE ON DECEMBER 2nd?

Our home is Russia.
"The parental home - the beginning of the beginnings."
Home is the place where you are always welcome.
The house is an island, a fortress in the chaos of revolutionary, military events.
Home is a haven for a tired soul, a place for its rest and recuperation.
Home is a place where spiritual, moral and cultural traditions are preserved.
Home is an affirmation of eternity, beauty and strength of life.
Home is the foundation of human existence.
Home is a wonderful dream of happiness.
The house is a portrait of the soul of the family.
The loss of a home is the collapse of moral ideals. (On the flooding of villages in the 1970s and 80s)
Home is a discord with oneself and the world.

WHAT BOOKS MUST BE READ WHEN PREPARING FOR THIS DIRECTION:

N.V. Gogol "Dead Souls".
I.A. Goncharov "Oblomov".
L.N. Tolstoy "War and Peace".
A.I. Solzhenitsyn "Matryonin Dvor".

ADDITIONAL LITERATURE:

MABulgakov "White Guard", "Heart of a Dog".
F.M. Dostoevsky "Crime and Punishment". Description of Raskolnikov's life.
M. Gorky "At the Bottom".
Yu.V. Trifonov "House on the Embankment".
V.S. Rasputin "Farewell to Matera".
A.P. Chekhov. "The Cherry Orchard".
A.S. Pushkin "Eugene Onegin".
I.S. Turgenev "Fathers and Sons".
M.A. Sholokhov "Quiet Don".

QUOTE MATERIAL

Proverbs and sayings:

Being a guest is good, but being at home is better.
Home is not a guest: after sitting, you will not leave.
Your home is not a stranger: you cannot leave it.
A house without an owner is an orphan.
Love at home what you want, and in people - what they give.
The hut is not red with the corners, but red with pies.
It is not the owner's house that paints, but the owner of the house.
Nice to the one who has a lot of everything in the house.
Good speech is that there is a stove in the hut.
Thanks to the house here, let's go to another one.
It is bad to live for one who has nothing in the house.
Every house is kept by the owner.
A lonely person is home everywhere.

1st SAMPLE COMPOSITION

on the topic "Parental Home"

1. Introduction to the essay.
Home ... parental home. For each of us, it is of exceptional importance. Indeed, in the father's house, a person is not only born, but also receives a spiritual and moral charge for the rest of his life, in his home and in the family those moral guidelines are laid in a person that will be needed throughout his life.

It is here that a person feels and learns all the beginnings in life. “Everything in a person begins from childhood,” the writer S.V. Mikhalkov. And what we will be like in life - it depends on the family in which we grew up, on the spiritual atmosphere that reigned in the parental home.

The theme of the house is a cross-cutting theme of world fiction. Writers in their works told us about the different families and houses in which these families lived.

2. The main part of the essay - literary arguments (analysis of literary works or specific episodes of works).
Argument 1.

In the comedy "The Minor" Denis Ivanovich Fonvizin shows the landowner house of the noblemen Prostakovs. What is this house?
It is not dominated by a man, the head of the family, but Mrs. Prostakova.
The atmosphere in this house is very heavy, because from morning to evening you can hear screams, abuse, rude words. The landowner watches everyone, cheats, lies, no one can calm her down.
Prostakova has no human dignity. She scolds tailor Trishka and her henpecked husband, who only indulges her. The wife is tyrannical towards her husband. For the sake of her son, she attacks her brother. She felt sorry for her overworked son.
Sophia complains to Milona about the hard life in the Prostakovs' house.
Lawlessness is happening in the house of this lady. Ignorant, cruel, narcissistic mistress builds family relationships from a position of strength. Despotism destroys and destroys everything human in man.
Starodum remarks: "Here is evil worthy fruit." But this vicious and cruel woman is a mother. She loves her Mitrofanushka very much. In the atmosphere of his home, ruled by his mother, the son could not learn anything good from his mother, he did not receive a strong moral charge, which is so necessary for him in life.
Such a situation in the parental home cannot give Mitrofan good and strong moral lessons.

Argument 2.

A completely different house, the house of the Rostov family, is shown to us by Lev Nikolaevich Tolstoy in his novel "War and Peace".
We see a large house on Povarskaya Street in the center of Moscow. A large and friendly family of Count Ilya Nikolaevich Rostov lives here. The doors of this house were open to everyone, there was enough space for everyone.
The head of the house is Count Ilya Nikolaevich Rostov, who loves home holidays. He adores his family and has a trusting relationship with children. "He is loose kindness itself." "The most beautiful man was," - this is how his acquaintances speak of him after his death. Tolstoy emphasizes that the gift of an educator is inherent in Countess Rostova. She is the first counselor for daughters, generous, sincere in dealing with children, hospitable, open.
The family is musical, artistic, they adore singing and dancing in the house. All this contributed to the fact that the parental home became a special atmosphere of spirituality. In the house of the Rostovs "love air" reigned.
Happy home at the Rostovs! Children feel parental tenderness and affection! Peace, harmony and love are the moral climate in a Moscow house. The life values ​​that the children brought out of the Rostovs' parental home are worthy of respect - they are generosity, patriotism, nobility, respect, mutual understanding and support. All children inherited from their parents the ability to participate, to empathize, to sympathy, mercy.
The parental home and family for the Rostovs is the source of all moral values ​​and moral guidelines, this is the beginning of beginnings.

3. Conclusion.

Two houses - the house of Mrs. Prostakova at Fonvizin and the house of the Rostovs at Tolstoy. And how different they are! And it depends on the parents themselves and the moral and spiritual atmosphere that is created in the parental home, in the family. I really want to believe that in our time there will be as many parents as possible who take care of their home and a strong spiritual atmosphere in it. Let every home become a real source of moral guidelines for young people!

2nd SAMPLE COMPOSITION

“The theme of the house in the novel“ Quiet Don ”by M.A. Sholokhov "

In the epic novel "Quiet Don" M. Sholokhov painted a grandiose picture of the life of the Cossack Don with its primordial traditions, peculiar way of life. The theme of the home and family is one of the central themes in the novel.
This theme sounds powerful from the very beginning of the piece. “The Melekhovsky Dvor is on the very edge of the farm” - this is how the epic novel begins, and throughout the entire story M. Sholokhov will tell us about the inhabitants of this courtyard. A line of defense runs through the Melekhovs' courtyard, it is occupied by either red or white, but for the heroes, the paternal house forever remains the place where the closest people live, always ready to receive and warm.
The life of the inhabitants of the Melekhovs' house appears in the interweaving of contradictions, attraction and struggle. In the first chapters, it is shown how a common cause, economic concerns unite these different people into a single whole - a family. That is why M. Sholokhov describes various labor processes in such detail - fishing, plowing, etc. Mutual assistance, caring for each other, joy of work - this is what unites the Melekhov family.
The house is held in the leadership of the elders. Pantelei Prokofich, Ilyinichna are indeed the stronghold of the family. Panteley Prokofich was hardworking, economic, very hot-tempered, but kind and sensitive at heart. Despite the intra-family split, Pantelei Prokofich is trying to combine the pieces of the old life into one whole - at least for the sake of his grandchildren and children. He constantly strives to bring something into the house, to do something useful for the household. And the fact that he dies outside the home, which he loved more than anything else, is the tragedy of a man whose time has taken away the most precious thing - family and shelter.
M. Sholokhov calls Ilyinichna "a courageous and proud old woman." She has wisdom and justice. She comforts her children when they feel bad, but she also harshly judges them when they commit unrighteous deeds. All her thoughts are connected with the fate of children, especially the youngest - Gregory. And it is deeply symbolic that at the last minute before her death, already realizing that she was not destined to see Gregory, she leaves the house and, turning to the steppe, says goodbye to her son: “Grishenka! My dear! My blood! "
The entire Melekhov family found themselves at the crossroads of major historical events. But the thought of a home is still alive in the souls of the younger generation of this family.
Grigory Melekhov feels a blood connection with his home, his native land. Passionately loving Aksinya, to her offer to leave, to give up everything, he refuses. Only later does he decide to leave, and even then not far, outside the farm. His home and peaceful work are seen by him as the main values ​​of life. In the war, shedding blood, he dreams of how he will prepare for sowing, and these thoughts make his soul warm.
Closely connected with the house of the Melekhovs and Natalia. Even realizing that she is unloved, even knowing that Gregory is with Aksinya, she remains in the house of her father-in-law and mother-in-law. Instinctively, she realizes that only here, in her husband's house, can she wait for him and start a new happy life with him. And, perhaps, it is precisely because from the very beginning that the love of Aksinya and Gregory is doomed, because she is homeless. They meet outside the home, outside of established customs. And in order to be together, they both need to leave home. It is deeply symbolic that Aksinya dies on the road, and Gregory in the finale of the novel finds himself in front of his home, with his son in his arms. And this turns out to be his only salvation and hope to survive in a crumbling world splitting into parts.
For M. Sholokhov, a person is the most valuable thing on our planet, and the most important thing that helps the formation of a person's soul is his home, in which he was born, grew up, where he will always be welcomed and loved and where he will definitely return.