It's one thing to mess around and completely different - a mess inside you

In 1966, the first collections of stories and essays by the writer "The Campfires of New Cities" and "The Edge Near the Sky" were published. The first story of V. Rasputin "Money for Maria" was published in 1967 in the anthology "Angara" and brought the writer all-Union fame. Then the stories followed: "Deadline"(1970), "Live and Remember"(1974), "Farewell to Matera" (1976) publicistic story "Fire" (1985). Valentin Grigorievich Rasputin was twice awarded the USSR State Prize (1977 and 1987).

Rasputin is also known as a master of the story. A masterpiece of this genre "French lessons" was written in 1973. The story is largely autobiographical in nature - an adult mentally traces the steps of his ascent to knowledge from the height of his civil, social maturity, recalls how he - a village boy - at the age of eleven, in a difficult post-war period, arrives at the regional center for fifty kilometers to study at school. The lesson of mercy, planted in his soul by the teacher of the French language, will remain with him for life and will sprout. Therefore, the story begins with very capacious words about responsibility, about duty to teachers: “It’s strange, why do we, just like to our parents, feel our guilt before teachers every time? And not for what happened at school, but for what happened to us afterwards. " Into the cycle "Live forever- century love "(Our Contemporary. 1982, No. 7) includes stories "Natasha", "What to convey to the raven", "Live forever- love century ”,“ I can’t-u ”. In them, the writer carefully examines the psychology of relationships with loved ones. Shows an increased interest in intuitive, "natural" principles in a person.

In 2000, Rasputin was awarded the AI ​​Solzhenitsyn Prize "For the penetrating expression of poetry and the tragedy of Russian life in fusion with Russian nature and speech, sincerity and chastity in the resurrection of good principles." The founder of the prize - the Nobel laureate - introducing A. Solzhenitsyn, the laureate of the prize, said: “In the mid-seventies, a quiet revolution took place in our country - a group of writers began to work as if no socialist realism existed. They began to be called villagers, and it would be more correct - moralists. The first of them is Valentin Rasputin. "

Already in the first stories, in the story "Money for Maria" the characteristic features of the writer's creative handwriting appeared - an attentive, thoughtful attitude to his characters, deep psychologism, subtle observation, aphoristic language, humor. The plot of the first story was based on the development of the motive of the Old Russian quest for the truth. The tractor driver Kuzma, the husband of a conscientious rural saleswoman caught in embezzlement, collects money from fellow villagers to make up for the shortage. The writer places the characters in the story before an event that reveals their moral value. The current state of Russian conciliarity is subjected to a moral test. In the story, Rasputin expresses thoughts that are important in his worldview context about preserving the traditions that are formed by the measured rural way of life: “All people come from there, from the village, only some earlier, others later, and some understand this, while others do not.<...>And human kindness, respect for elders, and hard work also come from the countryside. "

The story "Deadline" became one of the canonical works of "village prose". The story is based on the archetypal story of the disintegration of family ties. The process of dissolution, "dissolution of the peasant family," the alienation of family members from each other, from home, from the land on which they were born and raised, is interpreted by Rasputin as a deeply disturbing situation. Before her death, the old woman Anna says to her children: “Do not forget brother, sister, sister of brother. And visit this place too, our whole family is here. "

The story of Rasputin tells about the impossibility of happiness for a person, contrary to generic morality, the whole structure of the people's consciousness Live and Remember. The story is built on a conflict of cowardice, cruelty, extreme individualism, betrayal, - with one

on the other side, and duty, conscience, morality - on the other, on the conflict of world perceptions of her heroes. The deep concept of the story lies in the inseparability of a person's fate from the national one, in the responsibility of a person for his choice. The meaning of the title of the story is a reminder to a person to remember his duty - to be a Human on earth. “Live and remember,” says the author.

The story is recognized as an artistic achievement of Rasputin Farewell to Matera. In the story, Rasputin creates an image of folk life with its ethics, philosophy, and aesthetics. Through the lips of the heroine of the story, the old woman Daria, who personifies the national character, the writer reproaches those who forget the past, calls for harmony between such eternal moral concepts as conscience, kindness, soul, reason, with the help of which a person is preserved as a person. The story caused a stormy controversy. Thus, some participants in the discussion in the Voprosy Literatury magazine criticized the author for the dominance of the feeling of dying, the attention of others was attracted by the richness of the socio-philosophical nature of the work, the writer's ability to solve “eternal questions” of human existence and national life on local material, and the skill in rendering Russian speech. (Discussion of V. Rasputin's prose // Voprosy literatury. 1977. No. 2. P. 37, 74).

The originality of the conflict in the story "Live and Remember" by V. Rasputin

It's sweet to live, it's scary to live, it's a shame to live ...

The story "Live and Remember" consists of 22 chapters, compositionally connected by common events, characters, identifying the motives of their behavior.

The story immediately begins with the outbreak of the conflict: “Winter in the 45th, last war year in these parts stood an orphan, but the Epiphany frosts took their toll, knocked out, as they should be over forty.<...>In the cold, in the Guskovs' bathhouse, standing in the lower vegetable garden near the Angara, close to the water, there was a loss: a good old-work carpenter's ax of Mikheich disappeared. " At the end of the work - in the 21st and 22nd chapters, the denouement is given. The second and third chapters represent the introductory part, the exposition, they depict events that begin the development of the plot narration: “Be quiet, Nastena. It's me. Shut up. Strong, rigid hands grabbed her by the shoulders and pushed her against the bench. Nastena groaned in pain and fear. The voice was hoarse and rusty, but its insides remained the same, and Nastena recognized it.

You, Andrey ?! God! Where did you come from?!".

Nastena recognizes the voice of her husband, so anticipated by her, and the harsh intonations that threaten her, announcing his appearance, will become the “last term” in her life, put a clear boundary between her past life and the present. “From there. Shut up.<...>No dog should know I'm here. Tell someone I'll kill you. I will kill - I have nothing to lose. So remember. Where do I want to get it. Now I have a firm hand on this, it will not break. "

Andrei Guskov deserted after four years of war ("... fought and fought, did not hide, did not cheat"), and after being wounded, after a hospital - at night, like a thief, he made his way to his native Atamanovka. He is convinced that if he returns to the front, he will certainly be killed. To Nastena's question - “But how, how dare you? It is not simple. How did you have the courage? " - Guskov will say - “There was nothing to breathe - before that I wanted to see you. From there, from the front, of course, I would not have run ... Then it seemed kind of close. And where is next? I drove, drove ... to get to the unit as soon as possible. Well I didn’t run with a purpose. Then I see: where to toss and turn? To death. Better to die here. What to say now! The pig will find dirt. "

The character of a person who has stepped onto the line of betrayal is psychologically developed in the story. The artistic credibility of the image of Guskov lies in the fact that the writer does not depict him with only black colors: he fought, only at the end of the war “it became unbearable” - he became a deserter. But how, it turns out, the path of a person who has become an enemy, who has embarked on the path of betrayal is thorny. Guskov places his blame on fate and is spiritually destroyed from this. He realizes everything that happened to him, gives a sober assessment of his behavior in a conversation with Nastya, convinces her that he will soon disappear. V. Rasputin gradually, but systematically prepares the tragic for the "bright soul" Nastya phi-

the story, showing her inner torment, the felt sense of guilt, her honesty and inability to live a lie, and extreme individualism, the cruelty of Guskov, an antihero, not a tragic hero.

The logic of the development of the artistic image of Guskov, who betrayed the Motherland in a difficult time for her, when (as is convincingly traced in the story by the example of the inhabitants of Atamanovka, the key moment is the return of the front-line soldier Maxim Vologzhin, the fate of Pyotr Lukovnikov, “ten funerals in the hands of women, the rest are fighting ") the entire Soviet people was ready to do anything to finish off the fascists, liberate their native land, he blamed everything on fate and finally" brutalized ". While Guskov learns to howl like a wolf, explaining his "truth" for himself - "It will come in handy to frighten good people" (and the author emphasizes - "Guskov thought with malevolent, vengeful pride), people from all over the village will gather in Maxim Vologzhin's house. to say thank you to the front-line soldier who was badly wounded at the front. With what hope do they ask their fellow countryman about “how soon the war will end?” - and they will hear the answer that they knew and expected to hear that the Germans would not “turn around” a Russian soldier who had already reached Germany itself. “Now they will finish it off,” Maxim will say, “no, they won’t get sick. I will go back with one hand, the one-legged, crippled ones will go, but they will not twist, we will not allow. They ran into the wrong people. "This attitude is supported by all fellow villagers who were in the rear, but worked for the front, like Nastya Guskova, as the father of the deserter Andrei - Mikheich. Line by line, page by page Rasputin traces Guskov's mental mortification, his apostasy from the norms of human life are both cruelty and meanness in relation to the dumb Tanya (“At Tanya he sat in a daze and fear all day, all intending to get up and move somewhere, in one direction, he also sat in another, and then and completely stuck, deciding that it was better for him to wait until he was finally lost both at home and at the front "), which he simply uses and after a month, without saying goodbye, will run away, and cruelty towards his wife. Now Guskov will begin to steal fish from the holes, and not even out of desire to eat, but simply to do a dirty trick on those who freely, not like a thief, walk on their land. The devastation of the soul is evidenced by his "fierce desire to set fire to the mill" - to do what he himself called "dirty trick".

Solving the traditional for Russian literature moral and philosophical questions about fate, about will, about the social determinism of an act and behavior, V. Rasputin, first of all, considers a person responsible for his life.

In close connection with the image of Guskov, the image of Nastena is developed in the story. If Andrey blames fate, Nastena blames herself: “Since you are to blame there, then I am also to blame for you. We will answer together ”. The time when Andrei returns as a deserter and hides from people will become the “last term” for Nastena, who does not know how to lie, to live away from people, according to the principle that Andrei chose: “you yourself, no one else”. Responsibility for the person who became her husband does not give her the right to refuse him. Shame is a state that Nastena will constantly experience in front of her mother-in-law and father-in-law, in front of her friends, in front of the collective farm chairman, and, finally, in front of the child she carries in her. “And the parental sin will get him a harsh, heart-rending sin - where to go with it ?! And he will not forgive, he will curse them - rightly so. "

The meaning of the title of the story "Live and Remember"- this is a reminder to a person to remember his duty to “be a Human on earth”.

The last hours, minutes of Nastya, before she deprives herself and the future child of her life - tilting the boat and going to the bottom of the Angara, are filled with genuine tragedy. “It's a shame ... why is it so heart-rendingly ashamed in front of Andrei, and in front of people, and in front of himself! Where did she get the guilt for such a shame? " If Andrei deprives himself of his connection with the world, with nature, then Nastena will feel his unity with the world until the last second: “Something was also festive and sad in my soul, like from a drawn-out old song, when you listen and you are lost, whose voices are these - those who live now, or who lived a hundred, two hundred years ago. "

But when Nastena was washed ashore, and Mishka the farm laborer wants to bury the drowned in the cemetery, the women "buried among their own people, just a little bit from the edge, by the rickety hedge."

With the images of Nastya and Andrei, V. Rasputin tests the heroes on the path of life, not forgiving the smallest deviations from ethical standards.

The main idea of ​​the whole story is in the inseparability of the fate of a person from the fate of the whole people, in the responsibility of a person for his actions, for his choice.

Poetics and problems of the story by T. Tolstoy "On the gold

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Lyceum of modern management technologies No. 2

Abstract on the topic:

"Moral problems in the works of V. Rasputin"

Completed: student 11 "B" class

Chubar Alexey Alexandrovich

Checked by: literature teacher

Bliznina Margarita Mikhailovna

Penza, 2008.

• 3
• "Farewell to Matera" 4
• "Money for Maria" 7
• "Deadline" 9
• "Live and Remember" 11
• Output 13
• 14

The circle of moral problems in the work of the author

V. Astafyev wrote: "You always have to start with yourself, then you will come to the general, to the general state, to the universal human problems." Apparently, Valentin Rasputin was guided by a similar principle on his creative path. He covers events and phenomena that are close to him in spirit, which he had to endure (the flooding of his native village in the work "Farewell to Matera"). Based on his personal experiences, observations, the author outlines a very wide range of moral problems, as well as many different human characters, personalities who in their own way solve these problems.

Sergei Zalygin wrote that Rasputin's stories are distinguished by a special "artistic completeness" - completeness and completeness of "complexity." Whether it is the characters and relationships of the heroes, whether it is the depiction of events - everything from beginning to end retains its complexity and does not replace the logical and emotional simplicity of some final, undeniable conclusions and explanations. The actual question is "who is to blame?" in the works of Rasputin does not receive an unambiguous answer. As if in return for us, the reader realizes the impossibility of such an answer; we guess that all the answers that come to mind are insufficient, unsatisfactory; they will not ease the burden in any way, they will not correct anything, they will not prevent anything in the future; we still remain face to face with what happened, with that terrible, cruel injustice, and our whole being is rebelling against it ...

Rasputin's story is an attempt to find something basic and decisive in the mentality and consciousness of modern man. The author goes to his goal, illuminating and solving in his works such moral problems as the problem of memory, the problem of the relationship between "fathers" and "children", the problem of love and attachment to the native land, the problem of pettiness, the problem of sympathy, compassion, mercy, conscience, the problem of the evolution of ideas about material values, a turning point in the spiritual life of mankind. It is worth noting that the author does not have works devoted to any of the above problems. Reading the stories and stories of Rasputin, we see a deep mutual penetration of various moral phenomena, their interconnection. Because of this, it is impossible to clearly identify one specific problem and characterize it. Therefore, I will consider the "tangle" of problems in the context of certain works and at the end I will try to draw a conclusion on the moral problems of Rasputin's work as a whole.

"Farewell to Matera"

Each person has his own small homeland, the land that is the Universe and everything that Matera has become for the heroes of Valentin Rasputin's story. All the books of V.G. Rasputin, so I would like to consider this topic first. In the story "Farewell to Matera" one can easily read the fate of the writer's native village, Atalanka, which fell into the flooded zone during the construction of the Bratsk hydroelectric power station.

Matera is both an island and a village of the same name. For three hundred years Russian peasants settled in this place. Life on this island goes unhurriedly, without haste, and over those three hundred plus years Matera made many people happy. She accepted everyone, became a mother to everyone and carefully fed her children, and the children answered her with love. And the inhabitants of Matera did not need either comfortable houses with heating, or a kitchen with a gas stove. This was not what they saw as happiness. There would only be an opportunity to touch the native land, light the stove, drink tea from a samovar, live your whole life next to the graves of your parents, and when the time comes, lie down next to them. But Matera is leaving, the soul of this world is leaving.

Mothers are defending their homeland, trying to save their village, their history. But what can old men and women do against the almighty chief who gave the order to flood Matera, to wipe her off the face of the earth? For strangers, this island is just a territory, a flood zone.

Rasputin skillfully depicts scenes of people parting with the village. Let's read again how Yegor and Nastasya postpone their departure again and again, how they do not want to leave their homeland, how desperately Bogodul is fighting to preserve the cemetery, because it is sacred for the inhabitants of Matera: "And the old women crawled through the cemetery until the last night, stuck back crosses, set up bedside tables ”.

All this proves once again that it is impossible to tear the people off the earth, from their roots, that such actions can be equated with brutal murder.

The main ideological character of the story is the old woman Daria. This is the person who until the end of his life, until the last minute, remained devoted to his homeland. This woman is a kind of guardian of eternity. Daria is a true national character. The writer is closest to the thoughts of this lovely old woman. Rasputin endows her with only positive features, simple and unpretentious speech. I must say that all the old-timers of Matera are described by the author with warmth. But it is in the voice of Daria that the author expresses his judgments regarding moral problems. This old woman concludes that a sense of conscience has begun to be lost in people and society. “The people have become much sicker,” she reflects, “but the conscience, come on, is the same ... our conscience has grown old, the old woman has become, no one is looking at her ... What about conscience if this is happening!”

The heroes of Rasputin associate the loss of conscience directly with the separation of man from the earth, from his roots, from age-old traditions. Unfortunately, only old men and women remained loyal to Matera. Young people live in the future and calmly part with their small homeland. Thus, two more problems are touched upon: the problem of memory and a kind of conflict between "fathers" and "children".

In this context, “fathers” are people for whom a break with the earth is fatal, they grew up on it and absorbed love for it with their mother's milk. This is Bogodul, and grandfather Yegor, and Nastasya, and Sima, and Katerina. “Children” are those young people who so easily left a village to its own devices, a village with a history of three hundred years. This is Andrey, Petrukha, Klavka Strigunova. As we know, the views of the “fathers” differ sharply from those of the “children”, so the conflict between them is eternal and inevitable. And if in Turgenev's novel "Fathers and Sons" the truth was on the side of "children", on the side of the new generation, which sought to eradicate the morally decaying nobility, then in the story "Farewell to Mother" the situation is completely opposite: young people are destroying the only thing that makes it possible preservation of life on earth (customs, traditions, national roots). This idea is confirmed by Daria's words, expressing the idea of ​​the work: “Truth is in memory. He who has no memory has no life. " Memory is not just events recorded in the brain; it is a spiritual connection with something. The writer makes one wonder whether a person who has left his native land, broke with his roots, will be happy, and, burning bridges, leaving Matera, will he not lose his soul, his moral support? Lack of connection with their native land, the willingness to leave it and forget it as a "nightmare", a disdainful attitude towards a small homeland ("It was long time to drown. It does not smell alive ... not people, but bugs and cockroaches. Found where to live - in the middle of the water ... like frogs ”) characterizes the heroes not from the best side.

The outcome of the work is deplorable ... An entire village has disappeared from the map of Siberia, and with it - traditions and customs, which for centuries have shaped the soul of a person, his unique character, are the roots of our life.

V. Rasputin touches on many moral issues in his story, but the fate of Matera is the leading theme of this work. Not only the theme is traditional here: the fate of the village, its moral foundations, but also the characters themselves. The work largely follows the traditions of humanism. Rasputin is not against changes, he does not try in his story to protest against everything new, progressive, but makes one think about such transformations in life that would not exterminate the human in man. Many moral imperatives are also traditional in the story.

Farewell to Matera is the result of an analysis of one social phenomenon based on the author's recollections. Rasputin explores the branchy tree of moral problems that this event exposed. Like any humanist, in his story he addresses the issues of humanity and solves many moral problems, and also, which is not unimportant, establishes connections between them, demonstrates the continuity, dependence on each other of the processes taking place in the human soul.

"Money for Maria"

For many of us, humanity and mercy are inextricably linked. Many even identify them (which, however, is not entirely true). The humanist writer could not ignore the topic of mercy, and it is our reflection in the story "Money for Mary".

The plot of the work is very simple. An emergency occurred in a small Siberian village: the inspector discovered a large shortage of the seller in Maria's store. It is clear to both the auditor and fellow villagers that Maria did not take a dime for herself, most likely becoming a victim of the accounting neglected by her predecessors. But, fortunately for the saleswoman, the auditor turned out to be a sincere person and gave five days to pay off the shortfall. He took into account, apparently, the woman's illiteracy, and her disinterestedness, and most importantly, he took pity on the children.

Such a seemingly quite everyday situation shows human characters well. Mary's fellow villagers are taking a kind of test for mercy. They are faced with a difficult choice: either to help out their conscientious and always hardworking countrywoman by lending her money, or to turn away, not to notice the human misfortune, saving their own savings. Money here becomes a kind of measure of human conscience. The work reflects the author's perception of various kinds of misfortunes. Rasputin's misfortune is not just a misfortune. It is also a test of a person, a test that exposes the core of the soul. Here everything is highlighted to the bottom: both good and bad - everything is revealed without concealment. Such crisis psychological situations organize the drama of the conflict in this story and in other works of the writer.

In Maria's family, money was always treated simply. Kuzma's husband believed: "yes - good - no - well, okay." For Kuzma, "money was a patch that was put on the holes necessary for living." He could think of stocks of bread and meat - one cannot do without this, but the thought of stocks of money seemed to him funny, foolish, and he brushed them off. He was happy with what he had. That is why when trouble knocked on his house, Kuzma does not regret the accumulated wealth. He thinks about how to save his wife, the mother of his children. Kuzma promises to his sons: “We will turn the whole earth upside down, but we will not give up our mother. There are five of us men, we will succeed. " Mother here is a symbol of the light and the sublime, incapable of any meanness. Mother is life. To defend her honor and her dignity is what is important for Kuzma, not money.

But he has a completely different attitude to Stepanid's money. She can’t part with a penny for a while. With difficulty, the director of the school Yevgeny Nikolaevich also gives money to help Maria. It is not a feeling of compassion for a fellow villager that guides his act. He wants to strengthen his reputation with this gesture. He advertises his every step to the whole village. But mercy cannot coexist with coarse calculation.

Thus, in the person of the head of the family, we see an ideal that must be looked up to when deciding questions about prosperity and its influence on the consciousness of people, about family relationships, dignity and honor of the family. The author again demonstrates the inextricable connection of several moral problems. A minor shortage allows one to see the moral character of representatives of society, reveals different facets of the same quality of a person.

"Deadline"

Valentin Grigorievich Rasputin is one of the called-up masters of "village prose", one of those who continue the traditions of Russian classical prose primarily from the point of view of moral and philosophical problems. Rasputin explores the conflict between a wise world order, a wise attitude to the world and an unwise, fussy, thoughtless existence. The search for the roots of this conflict in the 1970 story "The Deadline".

The narration is led on the one hand by an impersonal author-narrator, depicting events in the house of dying Anna, on the other hand, as if Anna herself tells her views, thoughts, feelings are conveyed in the form of improperly direct speech. This organization of the story creates a sense of dialogue between two opposite positions in life. But in fact, the author's sympathies are unequivocally on Anna's side, the other position is presented in a negative light.

The negative position of Rasputin belongs to the author's attitude towards Anna's adult children, who gathered in the house of a dying old mother to say goodbye to her. But you can't plan the moment of death, you can't calculate it ahead of time, like a train stop at a station. Contrary to all forecasts, the old woman Anna is in no hurry to close her eyes. Her strength is weakening, then returning again. And at this time, Anna's children are primarily concerned with their own concerns. Lucy is in a hurry to sew a black dress for herself, while her mother is still alive, in order to look at the funeral in a proper way, Varvara immediately begs for this dress that has not yet been sewn for her daughter. Sons Ilya and Mikhail thrifty buy a box of vodka - "the mother needs to be carried out properly" - and start drinking in advance. And their emotions are unnatural: Varvara, as soon as she arrived and opened the gates, “as soon as she turned on herself, began to shout:“ Mother, you are mine! ” Lucy "also shed a tear." All of them - Ilya, and Lucy, and Varvara, and Mikhail - have already come to terms with the inevitability of loss. An unexpected glimpse of hope of recovery does not make them feel better, but rather confusion and frustration. As if their mother deceived them, as if she forced them to waste their nerves and time, messed up plans. So the author shows that the spiritual world of these people is poor, they have lost a noble memory, are preoccupied only with petty matters, have broken away from Nature (the mother in Rasputin's story is nature that gives life). Hence the disdainful detachment of the author from these heroes.

Rasputin wonders why Anna's children have such thick skin? They were not born that way, were they? And why did such a mother have soulless children? Anna recalls the past, the childhood of her sons and daughters. He remembers when Mikhail's first-born was born, how happy he was, burst into his mother with the words: "Look, mother, I am from you, he is from me, and someone else is from him ...". Initially, the heroes are able to “be sensitively and acutely surprised by their existence, by what surrounds them at every step,” they are able to understand their participation in the “endless goal” of human existence: “so that the world never becomes scarce without people and does not grow old without children.” But this potential was not realized, the pursuit of momentary blessings overshadowed Mikhail, Varvara, Ilya and Lyusa all the light and meaning of life. They have no time, and do not want to think, they do not develop the ability to wonder at being. The writer explains the main reason for moral decline, first of all, by the loss of a person's spiritual connection with his roots.

In this story, there is one image that completely opposes the images of Anna's insensitive children - the youngest daughter of Tanchor. Tanya retained the consciousness of her connection with the whole world, coming from her childhood, a grateful feeling for her mother, who gave her life. Anna remembers well how Tanchora, diligently combing her head, said: "You are with us, mother, well done." - "What's that for?" - the mother was surprised. "Because you gave birth to me, and now I live, and without you no one would have given birth to me, so I would not have seen the world." Tatyana differs from her brothers and sisters in a feeling of gratitude to her mother, to the world, hence all the best, morally - bright and pure, sensitivity to all living things, joyful agility of disposition, tender and sincere love for her mother, which is not quenched by time or distance ... Although she, too, is capable of betraying her mother, she did not even consider it necessary to respond to the telegram.

Anna Stepanovna never lived for herself, never shied away from a debt, even the most burdensome. Whichever loved one was in trouble, she was looking for her guilt, as if she had overlooked something, was late to intervene in something. There is a conflict of pettiness, callousness and a sense of responsibility for the whole world, a kind of dedication and kindness. The author's position is obvious, he is on the side of the rich spiritual world. For Rasputin, Anna is an ideal image. The writer said: "I have always been attracted by the images of ordinary women, distinguished by selflessness, kindness, the ability to understand another." The strength of the characters of Rasputin's favorite heroes lies in wisdom, in the people's worldview, in people's morality. Such people set the tone, the intensity of the spiritual life of the people.

In this work, the splicing of several moral issues is less noticeable. The main conflict of the work, however, can be associated with the conflict of "fathers" and "children". It should be noted that the problem posed by the author of the grinding of the soul is very large-scale and deserves consideration in a separate work.

"Live and Remember"

This story was born from the contact of the writer experienced in childhood with his today's reflections on the village of the war years. And again, as in "Money for Maria" and in "The Final Term", Valentin Rasputin chooses a critical situation that verifies the moral foundations of the individual.

Did the protagonist know at the very moment when, succumbing to mental weakness, he jumped on a train, heading not to the front, but from the front to Irkutsk, what this act would turn out to be for him and his loved ones? Perhaps he guessed, but only vaguely, indistinctly, fearing to think out to the end everything that should happen after this, after that.

Every day, when Andrei avoided war, did not move away, but brought closer the tragic denouement. The inevitability of the tragedy lies in the very plot of "live and remember", and all the pages of the story breathe with a premonition of tragedy. Rasputin does not lead his hero to a choice, but begins with a choice. From the first lines Guskov is at a fork in the road, one of which leads to war, towards danger, while the other leads away from the war. And having given preference to this second, the road he sealed the fate. He disposed of it himself.

This is how one of the most important moral problems arises in the author's work - the problem of choice. The work shows that one should not succumb to the temptation (albeit as “high” as meeting with the family), to give up slack. On the way home, the hero is lucky, in the end he achieves his goal without falling under the tribunal. But, having escaped the tribunal, Guskov still did not leave the court. And from punishment, perhaps, more severe than execution. From moral punishment. The more fantastic the luck, the more distinctly in "Live and Remember" the rumble of an impending catastrophe.

Output

Valentin Rasputin has already passed a huge creative path. He wrote works that raise a huge number of moral issues. These problems are very topical even nowadays. What is especially remarkable is that the author does not regard the problem as an isolated, separate phenomenon. The author explores the interconnection of problems by studying the souls of people. Therefore, one can not expect simple solutions from him.

After Rasputin's books, the idea of ​​life becomes somewhat clearer, but not simpler. At least some of the many schemes with which the consciousness of any of us is so well equipped, in contact with this artistically transformed reality, reveal their approximation or inconsistency. Rasputin's complicated remains difficult and ends difficult, but there is nothing deliberate, artificial in this. Life is really replete with these complexities and an abundance of interconnections between phenomena.

Valentin Rasputin, with everything he wrote, convinces us that there is light in a person and it is difficult to extinguish it, no matter what circumstances happen, although it is possible. He does not share a gloomy view of man, of the primordial, fearless "depravity" of his nature. In the heroes of Rasputin and in himself there is a poetic feeling of life, opposed to the base, naturalistic, perception and depiction of it. He remains faithful to the traditions of humanism to the end.

Used literature and other sources:

1. VG Rasputin “Live and remember. Stories "Moscow 1977.

2. FF Kuznetsov “Russian literature of the XX century. Essays, essays, portraits "Moscow 1991.

3. VG Rasputin “Downstream and Upstream. Tale "Moscow 1972.

4. NV Egorova, IV Zolotareva "Lesson-less developments in Russian literature XX century" Moscow 2002.

5. Critical materials of Internet libraries.

6.www.yandex.ru

7.www.ilib.ru

Similar documents

Characteristics of the prose of Valentin Grigorievich Rasputin. The life of the writer, the origin of his work from childhood. Rasputin's path to literature, the search for his place. Study of life through the concept of "peasant family" in the writer's works.

report added on 05/28/2017


Mercy and compassion in contemporary prose. Moral guidelines. Biography of Viktor Petrovich Astafiev and his work "Lyudochka". Moral foundations of society. Composition of the story. A verdict on a society in which people are deprived of human warmth.

thesis, added 01/10/2009


The personality and literary credo of Anthony Pogorelsky. The magic story of A. Pogorelsky "Black hen or underground inhabitants". Moral problems and humanistic pathos of the tale. Artistic merits and pedagogical orientation of the story.

abstract, added 09/29/2011


The artistic world of the Russian writer Valentin Rasputin, characteristics of his work on the example of the story "Live and Remember". The time of writing the work and the time reflected in it. Analysis of the ideological and thematic content. Characteristics of the main characters.

abstract added on 04/15/2013


The evolution of journalism V.G. Rasputin in Soviet and post-Soviet times. Ecological and religious themes in art. Preaching journalism in recent years. Features of the poetics of journalistic articles. The imperative of moral purity of language and style.

thesis, added 02/13/2011


Philosophical, moral, social problems that have a timeless status in the work of Bradbury. Readers about the work of the writer. Ideological and cultural domestication: humanism, optimism, realism. Features of coverage of the political aspect.

thesis, added 07/03/2017


Brief information about the life and work of the writer Valentin Rasputin. The history of creation, concept and problems of the work "Fire". Summary and characteristics of the main characters. Artistic features of the work and its assessment by critics.

abstract, added 06/11/2008


The history of writing the novel "Crime and Punishment". The main characters of Dostoevsky's work: a description of their appearance, inner world, character traits and place in the novel. The storyline of the novel, the main philosophical, moral and moral problems.

abstract, added 05/31/2009


The work of the front-line writer Vyacheslav Kondratyev, features of his image of the war. Stages of V. Kondratyev's life, his years in the war and the path to writing. Analysis of the story "Greetings from the Front". Ideological and moral connections in the works of Kondratyev.

abstract, added 01/09/2011


Biography and work of the writer. "Money for Mary". "Deadline". "Farewell to Matera". "Live century - love century". The work of Valentin Rasputin is a unique and unique phenomenon in world literature.

Composition

The problem of morality has become especially urgent in our time. In our society, there is a need to talk and reflect on the changing human psychology, on relationships between people, on the meaning of life that the heroes and heroines of stories and stories so tirelessly and so painfully comprehend. Now at every step we meet the loss of human qualities: conscience, duty, mercy, kindness. In the works of Rasputin, we find situations close to modern life, and they help us understand the complexity of this problem. V. Rasputin's works consist of "living thoughts", and we must be able to understand them, if only because it is more important for us than for the writer himself, because the future of society and each person individually depends on us.

The story "The Last Term", which V. Rasputin himself called the main of his books, touched upon many moral problems, exposed the vices of society. In the work, V. Rasputin showed relationships within the family, raised the problem of respect for parents, which is very relevant in our time, revealed and showed the main wound of our time - alcoholism, raised the issue of conscience and honor, which affected every hero of the story. The main character of the story is the old woman Anna, who lived with her son Mikhail. She was eighty years old. The only goal that remained in her life is to see all her children before death and to go to the next world with a clear conscience. Anna had many children. They all parted, but fate was pleased to bring them all together at a time when the mother was dying. Anna's children are typical representatives of modern society, people who are busy, have a family, work, but remember their mother, for some reason very rarely. Their mother suffered greatly and missed them, and when the time came to die, only for their sake she stayed a few more days in this world and she would have lived as long as she wanted, if only they were there. And she, already with one foot in the next world, managed to find the strength to be reborn, flourish, and all for the sake of her children "Miraculously it happened or not miraculously, no one will say, just seeing her children, the old woman began to come to life." And what about them. And they solve their problems, and it seems that their mother does not really care, and if they are interested in her, it’s only for decency.

And they all live only for decency. Not to offend anyone, not to scold, not to say too much - everything is for decency, so that it is no worse than that of others. Each of them in difficult days for the mother goes about his business, and the state of the mother worries them little. Mikhail and Ilya are drunk, Lucy is out for a walk, Varvara is solving her problems, and none of them came up with the idea of ​​giving her mother more time, talking to her, just sitting next to her. All their care for their mother began and ended with the "semolina", which they all rushed to cook. Everyone gave advice, criticized others, but no one did anything on their own. From the very first meeting of these people, arguments and swearing begin between them. Lucy, as if nothing had happened, sat down to sew a dress, the men got drunk, and Varvara was even afraid to stay with her mother. And so the days passed: constant arguments and abuse, resentment against each other and drunkenness. This is how the children saw off their mother on her last journey, so they took care of her, so they took care of her and loved her. They did not feel the mother's state of mind, did not understand her, they saw only that she was getting better, that they had a family and a job, and that they needed to return home as soon as possible. They could not even say goodbye to their mother properly. Her children missed the "deadline" to fix something, ask for forgiveness, just be together, because now they are unlikely to get together again.

In this story, Rasputin very well showed the relationship of the modern family and their shortcomings, which are clearly manifested at critical moments, revealed the moral problems of society, showed the callousness and selfishness of people, their loss of all respect and ordinary feelings of love for each other. They, native people, are mired in anger and envy. They are concerned only with their interests, problems, only their affairs. They do not find time even for close and dear people. They did not find time for the mother - the most dear person. For them, "I" comes first, and then everything else. Rasputin showed the impoverishment of morality of modern people and its consequences. The story "The Last Term", on which V. Rasputin began to work in 1969, was first published in the magazine "Our Contemporary", in numbers 7, 8 for 1970. She not only continued and developed the best traditions of Russian literature - primarily the traditions of Tolstoy and Dostoevsky - but also gave a new powerful impetus to the development of modern literature, giving it a high artistic and philosophical level.

The story was immediately published as a book in several publishing houses, was translated into other languages, published abroad - in Prague, Bucharest, Milan. The play "The Last Term" was staged in Moscow (at the Moscow Art Theater) and in Bulgaria. The fame brought to the writer by the first story was firmly fixed. The composition of any work of V. Rasputin, the selection of details, pictorial means help to see the image of the author - our contemporary, citizen and philosopher.

Valentin Rasputin is one of the most famous contemporary Russian writers. I have read many of his works, and they attracted me with their simplicity and sincerity. In my opinion, among the defining impressions of Rasputin's life, one of the strongest was the impression of ordinary Siberian women, especially old women. They were attracted by a lot: calm strength of character and inner dignity, dedication in difficult village work and the ability to understand and forgive others.

Such is Anna in the story The Last Term. The situation in the story is immediately posed: an eighty-year old woman dies. It seemed to me that the life introduced by Rasputin in his stories is always taken at the moment of a breakthrough in its natural course, when suddenly a great disaster looms inevitably. It seems as if the spirit of death hovers over the Rasputin heroes. The old tofamarka from the story And ten graves in the taiga practically thinks about death only. Aunt Natalya is ready for a date with death in the story Money for Maria. Young Leshka dies in the arms of friends (I forgot to ask Leshka ...). A boy accidentally dies from an old mine (There, on the edge of a ravine). Anna, in the story The Last Term, is not afraid to die, she is ready for this last step, for she is already tired, she feels that she has outlived herself to the very bottom, has boiled down to the last drop. All my life running, on my feet, in work, worries: children, a house, a vegetable garden, a field, a collective farm ... And now the time has come when there is absolutely no strength left, except to say goodbye to the children. Anna did not imagine how she could leave forever, without seeing them, without hearing her native voices at last. During her life, the old woman gave birth a lot, but now she has only five left alive. It so happened that at first death got into the habit of going to their family, like a ferret in a chicken coop, then the war began. The children dispersed, dispersed, they were strangers, and only the near death of their mother makes them come together after a long separation. In the face of death, not only the spiritual depth of a simple Russian peasant woman is revealed, but also the faces and characters of her children appear in a naked light.

I admire Anna's character. In my opinion, the unshakable foundations of truth and conscience have been preserved in it. There are more strings in the soul of an illiterate old woman than in the soul of her city children who have seen the world. There are also such heroes in Rasputin who, perhaps, have a little of these strings in their souls, but they sound strong and clear (for example, the old Tofamarka woman from the story Man from this World). Anna and, perhaps, to an even greater extent Daria from the story Money for Mary, for the wealth and sensitivity of spiritual life, for the mind and knowledge of a person, can withstand comparison with many heroes of world and Russian literature.

Take a look from the outside: a useless old woman is living out her life, she almost does not get up in recent years, why should she live any further But the writer describes her to us in such a way that we see how in these last, seemingly completely worthless years, months, days, hours For a minute, intense spiritual work goes on in it. Through her eyes, we see and appreciate her children. These are loving and pitying eyes, but they accurately notice the essence of the change. The face change is most clearly visible in the appearance of Ilya's eldest son: Next to his bare head, his face seemed untrue, drawn, as if Ilya had sold his own or lost at cards to a stranger. In it, the mother sometimes finds familiar features, then loses.

But the middle daughter Lusya became all urban, from head to toe, she was born from an old woman, and not from some city woman, probably by mistake, but then she still found her own. It seems to me that she has already been reborn to the last cell, as if she had neither childhood nor youth of the village. She is jarred by the manners and language of the village sister Varvara and brother Mikhail, their indelicacy. I remember one scene when Lucy was going to take a walk for her health in the fresh air. Before her eyes appeared a picture of the once native land, which painfully struck the woman: an abandoned, neglected land was spread out in front of her, everything that had once been well-groomed, put in an expedient order by the love work of human hands, now converged in one strange wide desolation. Lucy understands what plagued her with some kind of tacit long-standing guilt, for which she will have to answer. This is her fault: she has completely forgotten everything that was with her here. After all, she was given to know both the joyful dissolution in her native nature, and the daily example of a mother, who felt a deep kinship with all living things (it was not for nothing that Lyusa remembered the case when her mother affectionately, like a dear person, raised the horse Igrenka, hopelessly overwhelmed for plowing, completely exhausted), remembered it and the terrible consequences of national tragedies: split, struggle, war (an episode with a driven, brutalized Bandera).
Of all Anna's children, I liked Mikhail the most. He stayed in the village, and Anna is living out her life with him. Mikhail is simpler, rougher than her city children, more cones with pretensions are poured on him, but in fact he is warmer and deeper than the others, not like Ilya, he rolls like a merry bun through life, trying not to touch any corners.

Magnificent in the story are two chapters about how, having bought two boxes of vodka for the supposed funeral, the brothers, overjoyed that their mother suddenly miraculously departed from death, began to drink them first alone, and then with their friend Stepan. Vodka is like an animated creature, and, as with an evil, capricious ruler, one must be able to handle it with the least losses for oneself: one must take it for fear, ... I don’t respect drinking it alone. She then, cholera, angrier. The highest moment in the lives of many, especially men, alas, has become a drink. Behind all the colorful scenes, behind the rogue stories of drunkards (here is the story of Stepan, who dodged his mother-in-law, made his way into the underground for moonshine), behind comical conversations (say, about the difference between a woman and a woman), a real social, popular evil arises. Mikhail said about the reasons for drunkenness: Life is now completely different, everything, read it, has changed, and they, these changes, demanded supplements from a person ... The body demanded a rest. It is not me who drinks, it is he who drinks. Let's return to the main character of the story. In my opinion, the old woman Anna embodied all the best sides of the primordially Siberian character and in the perseverance of the execution of everyday affairs, in firmness and pride. In the last chapters of the story, Rasputin completely focuses on his main character and the final segment of her life. Here the writer introduces us into the very depths of maternal feelings for the last, most beloved and closest child to her, daughter Tanchora. The old woman was waiting for her daughter's arrival, but she, unfortunately, did not come, and then something suddenly broke in the old woman, something burst with a short groan. Of all the children, again only Michael was able to understand what was happening with his mother, and he again took sin on his soul. Your Tanchora will not come, and there is nothing to wait for her. I repulsed her telegram so that I would not come, overpowering myself, he puts an end to it. It seems to me that this act of his cruel mercy is worth hundreds of unnecessary words.

Under the pressure of all misfortunes, Anna prayed: Lord, let me go, I will go. Let's go to mine my death, I'm ready. She imagined her death, mother mortal, as an ancient, haggard old woman. The Rasputin heroine foresees her own departure to a distant side with amazing poetic clarity, in all its stages and details.

Leaving, Anna remembers her children in those moments when they expressed all the best in themselves: young Ilya very seriously, with faith, accepts her mother's blessing before leaving for the front; Varvara, who grew up such a whiny, unhappy woman, is seen in early childhood digging a hole in the ground just to see what is in it, looking for what no one else knows in it, Lucy desperately, with all her being, rushes from the leaving steamer to meet her mother, leaving home; Mikhail, stunned by the birth of his first child, is suddenly pierced by the understanding of the unbreakable chain of generations in which he put on a new ring. And Anna remembered herself at the most wondrous moment of her life: She is not an old woman, she is still in girls, and everything around her is young, bright, beautiful. She wanders along the coast along a warm, steamy river after rain ... And so well, it is so good for her to live in this moment in the world, to look with her own eyes at its beauty, to be among the stormy and joyful action of eternal life that is in full swing head and sweet, agitated aching in my chest.

When Anna dies, the children literally leave her. Varvara, referring to the fact that she left the guys alone, leaves, while Lucy and Ilya do not explain the reasons for their flight. When the mother asks them to stay, her last request went unheard. In my opinion, this will not be in vain for Varvara, Ilya, or Lyusa. It seems to me that this was the last of the deadlines for them. Alas…

The old woman died in the night.

Thanks to the works of Rasputin, I was able to find answers to many questions. This writer has remained in my mind one of the best leading contemporary prose writers. Please do not pass by his books, remove from the shelf, ask in the library and read slowly, without rushing, thoughtfully.

In the work of Valentin Rasputin, moral quest occupies a significant place. His works present this problem in all its breadth and versatility. The author himself is a deeply moral person, as evidenced by his active social life. The name of this writer can be found not only among the fighters for the moral transformation of the fatherland, but also among the fighters for the environment. In his story "Live and Remember" moral problems are posed by the writer with the greatest acuteness. The work was written with the author's deep knowledge of the life of the people, of the psychology of the common man. The author puts his heroes in a difficult situation: a young guy Andrei Guskov fought honestly almost until the very end of the war, but in 1944 he ended up in a hospital and his life cracked. He thought that a severe wound would free him from further service. Lying in the ward, he already imagined how he would return home, embrace his family and his Nastena, and was so sure of this that he did not even call his relatives to the hospital to see. The news that he was again sent to the front struck like a thunderbolt. All his dreams and plans were destroyed in an instant. In moments of spiritual confusion and despair, Andrei makes a fatal decision for himself, which turned his life and soul upside down, made him a different person. There are many examples in the literature when circumstances turn out to be above the willpower of the heroes, but the image of Andrei is the most reliable and expressive. There is a feeling that the author was personally acquainted with this person. The writer imperceptibly blurs the lines between “good” and “bad” heroes and does not judge them unambiguously. The more attentively you read the story, the more opportunities for comprehending the moral state of the heroes, analyzing their actions. Life in Rasputin's works is complicated in that each situation contains countless facets and gradations. Andrey Guskov makes his choice: he decides to go home on his own, at least for one day. From that moment on, his life falls under the influence of completely different laws of being, Andrey is carried in a muddy stream of events like a splinter. He begins to understand that every day of such a life alienates him from normal, honest people and makes it impossible to come back. Fate famously begins to control a weak-willed person. The surroundings of the heroes are uncomfortable. Andrey's meeting with Nastena takes place in a cold, unheated bathhouse. The author knows Russian folklore well and builds an unambiguous parallel: the bathhouse is a place where all kinds of evil spirits appear at night. This is how the theme of werewolves arises, which runs through the entire narrative. In the minds of the people, werewolves are associated with wolves. And Andrey learned to howl like a wolf, he does it so naturally that Nastena wonders if he is a real werewolf. Andrei is becoming more and more callous in soul. Becomes violent, even with a bit of sadism. By shooting a roe deer; does not finish her off with a second shot, as all hunters do, but stands and attentively watches how the unfortunate animal suffers. “Just before the very end, he lifted her up and looked into her eyes - they widened in response. He was waiting for the last, final movement in order to remember how it will be reflected in the eyes ”. The type of blood, as it were, determines his further actions and words. “If you tell someone, I will kill you. I have nothing to lose, ”he says to his wife. Andrey is rapidly moving away from people. Whatever punishment he incurred, in the minds of fellow villagers, he will forever remain a werewolf, an inhuman. Werewolves are also popularly called undead. Undead means living in a completely different dimension than people. But the author makes the hero think painfully: "What have I done wrong before fate, that she is so with me, - with what?" Andrey does not find the answer to his question. Each reader makes his own judgment. The hero himself is inclined to seek an excuse for his crime. He sees his salvation in the unborn child. His birth, thinks Andrei, is the finger of God, indicating a return to normal human life, and he is mistaken once again. Nastena and the unborn child die. This moment is the punishment with which higher powers can punish a person who has transgressed all moral laws. Andrey is doomed to a painful life. Nastya's words: “Live and remember” - will knock in his fevered brain until the end of his days. But this call “Live and Remember” is addressed not only to Andrey, but also to the residents of Atamanovka, in general to all people. Such tragedies always happen in front of people, but rarely anyone dares to prevent them. People are afraid to be frank with loved ones. Laws are already in force here that restrain the moral impulses of innocent people. Nastena was even afraid to say to her friend that she had not smeared her human dignity with anything, but simply found herself between two fires.
She chooses a terrible way out of her situation - suicide. It seems that the author leads the reader to the idea of ​​some kind of moral contagion transmitted as a disease. After all, Nastena, killing herself, kills a child in herself - this is a double sin. It is the third person who suffers, even if he has not yet been born. The infection of immorality is spreading to the inhabitants of Atamanovka. They not only do not try to prevent the tragedy, but also contribute to its development and completion. A strong work of fiction on the theme of morality, such as V. Rasputin's story “Live and Remember,” is always a step forward in the spiritual development of society. Such a work, by its very existence, is an obstacle to lack of spirituality. The creativity of such a writer will help our contemporaries not to lose their moral values. The work of Valentin Rasputin is quite often contrasted with "city prose". And his action almost always takes place in the village, and the main heroes (more precisely, heroines) in most cases are "old old women", and his sympathies are not given to the new, but to that ancient, primordial, which is irrevocably passes away. All this is so and not so. The critic A. Bocharov justly noted that between the "urban" Yu. Trifonov and the "village" V. Rasputin, with all their differences, there is much in common. Both seek high morality of a person, both are interested in the place of personality in history. Both talk about the influence of the past life on the present and the future, both do not accept individualists, "iron" supermen and spineless conformists who have forgotten about the supreme purpose of man. In a word, both writers develop philosophical problems, although they do it in different ways. The plot of each story by V. Rasputin is associated with testing, choice, death. In "The Last Term" it is said about the dying days of the old woman Anna and about her children gathered at the bedside of her dying mother. Death highlights the characters of all the characters, and first of all the old woman herself. In "Live and Remember" the action is transferred to 1945, when the hero of the story Andrei Gusko-vu did not want to die at the front so much, and he deserted. The focus of the writer is on the moral and philosophical problems facing both Andrei himself and, to an even greater extent, before his wife Nastena. Farewell to Matera describes the flooding for the needs of the hydroelectric power station of the island, on which the old Siberian village is located, and the last days of old men and women who remained on it. In these conditions, the question of the meaning of life, of the relationship between morality and progress, of death and immortality becomes more acute. In all three stories V. Rasputin creates images of Russian women, carriers of the moral values ​​of the people, their philosophical outlook, literary successors of Sholokhov's Ilyinichna and Solzhenitsyn's Matryona, who develop and enrich the image of a rural righteous woman. All of them have an inherent sense of great responsibility for what is happening, a sense of guilt without guilt, an awareness of their merging with the world, both human and natural. Old men and women, bearers of national memory, in all of the writer's stories are opposed by those who, using the expression from "Farewell to Mother", can be called "sowing". Looking intently at the contradictions of the modern world, Rasputin, like other writers of the "village", sees the origins of lack of spirituality in social reality (a person has been deprived of the sense of a host, made a cog, an executor of other people's decisions). At the same time, the writer makes high demands on the personality itself. For him, individualism is unacceptable, neglect of such national national values ​​as home, labor, the graves of ancestors, procreation. All these concepts find material embodiment in the writer's prose, are described in a lyric and poetic manner. From story to story, the tragedy of the author's perception of the world intensifies in Rasputin's work.

Exam: Russian Literature

In the work of Valentin Rasputin, moral quest occupies a significant place. His works present this problem in all its breadth and versatility. The author himself is a deeply moral person, as evidenced by his active social life. The name of this writer can be found not only among the fighters for the moral transformation of the fatherland, but also among the fighters for the environment. In his story "Live and Remember" moral problems are posed by the writer with the greatest acuteness. The work was written with the author's deep knowledge of the life of the people, of the psychology of the common man. The author puts his heroes in a difficult situation: a young guy Andrei Guskov fought honestly almost until the very end of the war, but in 1944 he ended up in a hospital and his life cracked. He thought that a severe wound would free him from further service. Lying in the ward, he already imagined how he would return home, embrace his family and his Nastena, and was so sure of this that he did not even call his relatives to the hospital to see. The news that he was again sent to the front struck like a thunderbolt. All his dreams and plans were destroyed in an instant. In moments of spiritual confusion and despair, Andrei makes a fatal decision for himself, which turned his life and soul upside down, made him a different person. There are many examples in the literature when circumstances turn out to be above the willpower of the heroes, but the image of Andrei is the most reliable and expressive. There is a feeling that the author was personally acquainted with this person. The writer imperceptibly blurs the lines between "good" and "bad" heroes and does not judge them unequivocally. The more attentively you read the story, the more opportunities for comprehending the moral state of the heroes, analyzing their actions. Life in Rasputin's works is complicated in that each situation contains countless facets and gradations. Andrey Guskov makes his choice: he decides to go home on his own, at least for one day. From that moment on, his life falls under the influence of completely different laws of being, Andrey is carried in a muddy stream of events like a splinter. He begins to understand that every day of such a life alienates him from normal, honest people and makes it impossible to come back. Fate famously begins to control a weak-willed person. The surroundings of the heroes are uncomfortable. Andrey's meeting with Nastena takes place in a cold, unheated bathhouse. The author knows Russian folklore well and builds an unambiguous parallel: the bathhouse is a place where all kinds of evil spirits appear at night. This is how the theme of werewolves arises, which runs through the entire narrative. In the minds of the people, werewolves are associated with wolves. And Andrey learned to howl like a wolf, he does it so naturally that Nastena wonders if he is a real werewolf. Andrei is becoming more and more callous in soul. Becomes violent, even with a bit of sadism. By shooting a roe deer; does not finish her off with a second shot, as all hunters do, but stands and attentively watches how the unfortunate animal suffers. "Just before the very end, he lifted it up and looked into his eyes - they widened in response. He waited for the last, final movement to remember how it would be reflected in the eyes." The type of blood, as it were, determines his further actions and words. “If you tell someone, I’ll kill you. I have nothing to lose,” he says to his wife. Andrey is rapidly moving away from people. Whatever punishment he incurred, in the minds of fellow villagers, he will forever remain a werewolf, an inhuman. Werewolves are also popularly called undead. Undead means living in a completely different dimension than people. But the author makes the hero think painfully: "What have I done wrong before fate, that she is so with me, - what?" Andrey does not find the answer to his question. Each reader makes his own judgment. The hero himself is inclined to seek an excuse for his crime. He sees his salvation in the unborn child. His birth, thinks Andrei, is the finger of God, indicating a return to normal human life, and he is mistaken once again. Nastena and the unborn child die. This moment is the punishment with which higher powers can punish a person who has transgressed all moral laws. Andrey is doomed to a painful life. Nastena's words: "Live and remember" - will knock on his fevered brain until the end of his days. But this call "Live and Remember" is addressed not only to Andrei, but also to the residents of Atamanovka, in general to all people. Such tragedies always happen in front of people, but rarely anyone dares to prevent them. People are afraid to be frank with loved ones. Laws are already in force here, shackling moral principles.