Shukshin viburnum red analysis. Methodical development of a lesson on literature "The depiction of the moral qualities of a person in the story of V.M.

Everyone who wrote and spoke about the work of Vasily Shukshin could not, without surprise and some sense of confusion, not say about his almost incredible versatility. Shukshin the cinematographer organically penetrates into Shukshin the writer, his prose is visible, his film is literary in the best sense of the word, it cannot be perceived “in sections”; reading his books, we see the author on the screen, and looking at the screen, we remember his prose. This fusion of various qualities and talents, not only into a whole, but also into a very definite, completely finished one, pleases and surprises us today, will always delight and surprise. Shukshin belonged to Russian art in that tradition, due to which he did not really humiliate himself, but did not notice himself in the face of the problem that he raised in his work, in the face of the object that became for him an object of art. Shukshin was not only not peculiar, but also contraindicated any demonstration of oneself, any indication of oneself, although to whom, but he had something to demonstrate. It was this attitude towards himself that made him unforgettable for others. The last years of Shukshin's life were such a period when everything that surrounded him became an object of art for him - whether it concerned a quarrel with a watchman in a hospital or studying the biography and deeds of Stepan Razin.

One thing can be said: to live among people, incidents, impressions, each of which requires its own, and a legitimate place in art, each of which, pushing everything else, tears through you onto paper, onto the stage, onto the screen, insistently demanding and grumbling, - It is very difficult. Here is V. Shukshin's film story "Kalina Krasnaya", written in 1973. The main character is Yegor Prokudin. Egor is inconsistent: now he is emotionally lyrical and hugs one birch tree after another, now rude, now ruff, now a bum, a lover of drinking, now a kind person, now a bandit. And now some critics were very confused by this inconsistency, and they took it for the lack of character and "truth of life."

Critics did not immediately notice that such an image until now has not been possible, perhaps, to create anyone - not a single writer, not a single director, not a single actor, and Shukshin therefore succeeded because he is Shukshin, who piercingly saw people around him, their fate, their life twists and turns, because he is both a director and an actor all rolled into one. Prokudin's inconsistency is not at all so simple, spontaneous and not conditioned by anything, it is by no means an empty space and not a lack of character. Prokudin is consistently inconsistent, and this is something else. This is already logic. His logic is not our logic, it cannot, and probably should not be accepted and divided by us, but this does not mean at all that it does not exist, that it is not able to open up and be understood. Not quickly and not quietly, but with an even step, Yegor moves along the arable land he has just plowed towards his death.

He walks, knowing where he is going. Goes, first sending away his henchman on plowing, so that he would not be a witness of what will inevitably happen now, so that a person who has nothing to do with Prokudin's fate would not face any danger, some kind of witness troubles. The beat of Prokudin's tarpaulin boots on the wooden walkways is heard loudly and for a long time, when he is released from prison into freedom, but now he is almost inaudible, but in the same rhythm he walks through the arable land from free to death, and the circle closes, and everything becomes clear to us. It is then that we understand that this is the only thing this person should have done - in this all his previous inconsistencies began to speak. Prokudin neither pity, nor love, nor patronage, nor help - he would not accept anything from us, but he needs our understanding. It is necessary in its own way - after all, he resists this understanding all the time, it is not for nothing that he was so inconsistent and threw out his knees. But all this is because our understanding was necessary for him.

And then you involuntarily begin to think that Prokudin gives us an understanding not only of himself, but also of his artist - Vasily Shukshin. Time does not stand still, and those born in the year of Shukshin's death today become his readers. For them, he is the name of the classic series. But the years that have passed since his death have not at all erased the original meaning of the words that he wrote with a capital letter: People, True, Living Life.

The work is one of the most colorful in the writer's work and tells the story of the life of ordinary village people with their original and incredibly difficult fates.

The main character of the story is Yegor Prokudin, presented by the writer in the image of a recidivist thief released from prison, whose characteristic features are his inner spiritual strength, love for his native land and an honest attitude towards a woman.

The storyline of the work tells about the decision taken by the protagonist to start a new life, not related to his criminal past. Yegor arrives in a small village to see Lyuba Baikalova, a woman whom he meets as a result of correspondence while in the colony.

Lyuba is a bright, kind, conscientious person, with a soul accepting a former criminal and sincerely hoping for his further correction. The writer portrays the heroine in the form of typical representatives of Russian women, whose distinctive national feature is feelings of compassion and pity.

The woman accepts Yegor into her family, consisting of elderly parents and his brother Peter, who lives in a neighboring hut with his family, and also helps in finding employment in a rural collective farm. The image of Peter in the story is presented as a real Russian peasant, laconic, thorough in deeds, fair.

However, the correct, full-fledged and calm life that has begun is disrupted by the arrival of Yegor's former accomplices in thieves' cases, which ended in the tragic death of the protagonist, since the criminals do not forgive Prokudin's decision to leave the gangster life.

A distinctive feature of the story is the image of nature, which is presented as an integral element of the narrative, confirmed by the title of the work, symbolizing the bright red color of the viburnum a premonition of an imminent and inevitable ending. Revealing the image of Yegor Prokudin, the writer throughout the entire narrative uses a description of nature in the form of spring air on the day of his release, which turned his head, young birch trees, personifying the homeland, the juicy aroma of the earth at the moment of its plowing, which makes Yegor indulge in childhood memories.

Despite the dramatic nature of the story, which lies in the tragic fate of the protagonist, the work, having a sad, lyrical connotation, is filled with the author's faith in a Russian person who is distinguished by true patriotism, love for his native land, an open, non-spiteful soul striving for rural foundations and life according to human laws according to conscience.

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Egor Prokudin(thief's nickname - Grief) - the main character of the story, a "forty-year-old, shaved" criminal, after serving another (five years) term, is released from prison and, by coincidence, is forced to go to the village to see the girl Lyuba, whom he met by correspondence. He goes with the intention of resting after imprisonment. Ye. Is not serious about his trip and what he said when he parted with the head of the colony (“I'll take care of agriculture, get married”). “I can’t be anyone else on this earth - only a thief,” he says about himself almost with pride. About Lyuba, whom he is going to, he thinks like this: “Oh, you, my sweetheart! .. At least I will take off near you ... My sweetheart! .. I'll strangle in my arms! And I'll drink it with moonshine. Everything!" But, finding himself in a village life familiar from childhood, among - strangers before, but who turned out to be unexpectedly relatives - people (Lyuba, her parents, Peter), discovering unexpected power over himself the very way of village life and relationships, E. suddenly felt unbearable pain from this that his life did not go as it should. He makes a desperate attempt to turn fate - he becomes a tractor driver, lives in Lyuba's house like her husband; but his former blatari friends appear, who have not forgiven him for betrayal of the thieves' business, and they kill E.

The main theme of not only this story, but, perhaps, of all Shukshin's work is connected with the image of E. - the drama of human destinies in a country torn apart by war and social experiments; homelessness of a person who has lost his natural way of life and habitat. The emotional background of the development of this topic: "offense" for the Russian peasant, and more broadly - "offense for a person in general," for a person broken by circumstances. ("Shukshin of the 60s was rooting for the peasant. Shukshin of the 70s was rooting for a man" - L. Anninsky.)

E. grew up in a village without a father, with a mother and five brothers and sisters. In a time of famine, as a teenager, E. leaves for the city. He leaves with a terrible grudge against people, for their senseless cruelty. One day their only cow, the nurse Manka, came home with a sideways whipped by a pitchfork. Someone just like that, out of malice, deprived six orphans of a wet nurse. The first one whom E. met in the city and from whom he learned to make his way to a real, beautiful life was the thief Guboshlep. And it seems like E. made his way. “Sometimes I am fantastically rich,” he tells Lyuba. The soul of E. wants a holiday, will and beauty. “He could not stand dullness in people, creeping lethargy. That is why, perhaps, his life's road led him so far sideways that he always, and from his youth, was drawn to people, outlined sharply, at least sometimes with a crooked line, but sharply, definitely. "

Gradually E. finds out that his soul was not asking for it. "I stink this money ... I despise it completely." The payment for the thieves' freedom turned out to be exorbitant for E. a feeling of outcast among normal people, the need to lie. “I would not want to lie<...>I hate to lie all my life<...>I'm lying, of course, but from this<...>it's only harder to live. I lie and despise myself. And the desire to finish off his life completely, to smithereens, if only more fun and preferably with vodka. " The hardest test was the meeting with his abandoned mother, a half-blind old woman Kudelikha. E. did not utter a word, only attended the conversation between Lyuba and mother. From all his bright, risky, at times rich and free life, nothing remained in his soul, except melancholy. In the appearance of E., he constantly emphasizes his "zeal" life: "you are like a horse uphill<...>only you don't fall sideways yet. Yes, foam comes from the mouth. You will fall. You will ignite and fall, ”Lyuba tells him. The fun, which E. indulges in the thieves' raspberries, hysterical, hysterical. An attempt to arrange a drunken loud spree in the town at his own expense ends with his night flight to the village, to Lyuba and her brother Peter - very wretched and disgusting for E. the sight of people gathered "for debauchery". In Egypt, his peasant sourdough and nature, twisted by the life of a thief, are struggling. The most difficult thing for him is to find peace of mind: "My soul is ... some kind of turpentine." According to Shukshin, Yegor died because he realized that he would not be forgiven either from people or from himself. The story was supposed to end with E.'s suicide, but the author did not have enough determination for such an ending.

Have you noticed that some authors write their works so figuratively, but at the same time uncomplicatedly, that even after many years, memories of their creations pop up in the head in whole films. So vividly imagine the hero of the story while reading, that then, when faced with the adaptation, you literally scream: "Exactly, that's exactly what he looks like!" This is exactly what happens while watching the film "Kalina Krasnaya" (Shukshin). The summary of this story may take several minutes, but the experiences remain with us forever.

Vasily Shukshin - the great tragedian

Literary critics unanimously argue that such a fusion of different talents and qualities into a single whole will surprise and make more than one generation of readers admire. Even despite the fact that the work of Vasily Makarovich belongs to the Soviet era. "Kalina krasnaya" (we will analyze a summary of the chapters a little later) is the clearest example of how the author dissolves, does not notice himself in the face of the problems that he raises before the readers. Shukshin literally belonged to art.

Sometimes critics claim that Vasily Makarovich "demonstrated" himself, paraded himself, in order to gain even greater recognition. But his friends and relatives, as well as many literary scholars, say the opposite: any indication of himself, any demonstration of his “I” was completely alien to him. That is why it became unforgettable.

Film story

Let's take, for example, almost his most famous work - "Kalina Krasnaya". Shukshin (a summary will not convey the emotional intensity, but at least remind the storyline) wrote this film story in 1973. The dynamism of the plot, a lot of dialogues and a third-person narration are the main literary characteristics of the work.

Critics immediately noticed that there was no such image of the main character - Yegor Prokudin - in art yet. It is he who distinguishes the film "Kalina Krasnaya" from the general series. A brief description of his nature is as follows: he is either gentle and sentimental, hugs almost every birch tree he meets, then he is rude and “cries out for trouble”; one minute Yegor is cheerful and kind, and the next he is already a bandit and a drinker. It seemed to some literary scholars that such inconsistency speaks of a lack of character, and therefore does not convey the whole truth of life "Kalina Krasnaya".

Sequential inconsistency

The apparent inconsistency of Prokudin's actions is actually not simple, not spontaneous. Shukshin managed to convey a logic alien to an ordinary person. We do not understand, and, most likely, we should not understand and accept the actions of this person. But this does not mean that such a life has no right to exist in principle.

So, "Kalina Krasnaya", Shukshin. Let's start with the fact that Yegor, a recidivist thief, receives parting words from the head of the zone where Prokudin was serving his sentence. In the morning he must go free, and we become aware of some of this man's dreams: to have a cow and get married. Yegor has never seen his chosen one in his life. They met by correspondence.

Once free, Prokudin goes to his acquaintances (as you understand, also "dishonest"). The company gathered there is waiting for news of how the next robbery went. Everyone is trying to ask Gore (this is what his friends call Yegor) about the prison, but he absolutely does not want to talk about it. It's spring outside, and Prokudin is enjoying life.

The ringing phone call interrupts the gatherings: the police have covered the accomplices, and everyone needs to scatter. Realizing that nothing threatens him, Prokudin also runs. Such is the power of habit ...

The road to normal life

How do the events unfold in the story "Kalina Krasnaya"? Shukshin (the summary does not convey all the nuances of Prokudin's attitude to life) sends his hero to a meeting with his future wife - Any. She meets him on and leads him to introduce him to his parents.

In order not to frighten the elderly, Lyuba says that her chosen one is a former accountant. But, being left alone with his parents and answering questions, Yegor says: “I killed seven, I didn't manage to finish the eighth…”. He is sure that a person has the right to rehabilitation, and having received a punishment, one cannot return. And you can't judge him either. He criticizes the "backward" old people and their worldview, trying on the role of a public figure.

Prejudice

Public morality is quite clearly spelled out in the story "Kalina Krasnaya". The content (Shukshin repeatedly shows the influence of society on the individual) of the conversations of Lyuba, her mother and daughter-in-law about a new acquaintance boils down to discontent only for one reason: Yegor has just been released from prison. Women convey the opinion of their fellow villagers.

And Yegor himself spends time in a bathhouse with Lyuba's brother, Peter. This taciturn person is absolutely indifferent to what is happening. He is too lazy to get to know Yegor and have sincere conversations with him. Vasily Shukshin very vividly described scenes with Yegor's resentment against Peter, with the subsequent understanding of what was not motivated by him, but the usual taciturnity. "Kalina krasnaya" (we are trying to recall a brief summary) continues with Peter's shout from the bathhouse, everyone grabs "the heavy" and runs to the rescue. But in fact, Yegor accidentally splashed boiling water on Peter. The incident is made into a joke, and the rest of the evening is spent in a "warm, friendly atmosphere."

Details

Lyuba's friend, Varya, offers to part with Yegor and take back her ex-husband, Kolka. It's trifles that he's a drunkard. Varya laughingly talks about her happy life with her alcoholic husband. Her story that beating a drunkard with a rolling pin is the norm, somewhat jarring Lyuba. Lyuba does not want to be “like everyone else,” and this is very annoying to her fellow villagers.

And Prokudin, meanwhile, is thinking about the comrades with whom he managed to see after his release from prison. He even mails money to one of them (Guboshlep). Why does Shukshin show all this? "Kalina krasnaya", a summary of which is our current interest, conveys the mood of society in relation to recidivists, to those who go against the accepted norms. Shukshin could not help but raise this topic in his work.

Reveler

Yegor hangs out in a restaurant with unfamiliar peasants. He pours money and in every possible way "leaps" (as Shukshin himself called it): he sings, dances, drinks and makes pretentious speeches. But closer to night, he remembers Lyuba, calls her and says that business detained him in the city. The mother does not believe such a "legend", but Lyuba is rescued by her father and helps her to explain herself to her mother. It is the support of the father that Shukshin persistently emphasizes.

"Kalina Krasnaya" - the summary again does not contain all the events and dialogues - continues with the fact that Prokudin takes a taxi and returns to Lyuba. But he goes to her brother, and in the bathhouse (in a dark, cramped world, as Shukshin called this place) they continue to drink.

New job

Seeing Lyuba off to the farm where she works in the morning, Yegor recalls his childhood - his mother, Manka the cow and boyish carelessness. Lyuba casually mentions the drunkard - her ex-husband. So, for casual chatter, they reach the farm, where Yegor meets the director and immediately gets a job as a driver. Having completed the first task, Prokudin refuses to work and says that it is easier for him on a tractor.

In the evening, on a borrowed dump truck, Gore is taking Lyuba to a neighboring village. He asks her to introduce herself as a social worker and talk to old woman Kudelikha. During this visit, he himself looks very serious and does not take off his dark glasses. On the way home, it turns out that they visited Yegor's mother.

Even a brief summary of Shukshin's story "Kalina Krasnaya" cannot be conveyed without describing the moment when, for the first time sitting behind the wheel of a tractor, Prokudin makes the first furrow. He is overwhelmed with joy and pride, he cannot breathe the smell of the plowed earth.

Not without knots

When the former shows up to Lyuba's house and tries to pump his license, Yegor pushes the whole company out of the gate with his fists. The summary of the story "Kalina Krasnaya" Shukshina cannot convey the entirety of the cinematic scene of this fight. After all, it ended because, under Yegor's heavy gaze, Kolka, walking towards him with a stake, stopped.

Another trouble happened in Prokudin's life. A former friend of Shura came to him from the city. He brought money from Guboshlep, which was supposed to help Yegor return to his old life. But Prokudin refuses such an offer, throwing money in the visitor's face. Egor manages to calm down the agitated Lyuba, but it is clear that he himself is in order.

Tragic demise

While working in the field, Yegor notices the Volga with his former friends at the edge of the forest. He goes to them, and in the meantime we learn that Gubshlep decided to get even with Grief for the fact that he left the thieves' life.

By the time the worried Lyuba figured out what was happening and drove up with her brother to the forest edge, the city visitors were already leaving. Lyuba found a badly wounded Yegor, and she and Peter tried to help Prokudin. But at some point, he felt an imminent death and asked to put him on the ground to listen ... With his last bit of strength, Yegor Prokudin asks to give his money to his mother.

"And he, a Russian peasant, lay in his native steppe, not far from home ..."

Ministry of Education and Science of the Udmurt Republic

GOU SPO "Debessky Polytechnic"

On the topic: "Red viburnum"

Completed: 2nd year student of group "B"

Voblov Anton Igorevich

Teacher: Ivshina Natalya Vladimirovna

S. Debesy, 2009

Introduction

1. Main part

1.1 Writer's biography: Vasily Makarovich Shukshin (25.07.29 - 2.10 74)

1.4 Analysis of the selected work. (The story "Kalina red")

Conclusion

Bibliography

Application

The creative star of Vasily Makarovich Shukshin appeared on the horizon of today's Russian culture swiftly and, as it were, quite unexpectedly. It burns even now, striking in its brightness and variety of color overflows. However, Vasily Makarovich himself is no longer ... With a Shukshin mischievous smile towards the creators of culture, he disappeared from Moscow with the same strange surprise with which he appeared in it.

He lived for only forty-five years. Moreover, his life was so difficult and unfavorable (early orphanhood, homeless youth, illnesses, late studies, mature years without a roof over his head, etc.) that only ten to twelve years, and of this small number he lived on earth, - that's all! - we can attribute it to the years actually creative. But even this turns out to be enough for him to write more than one hundred and twenty short stories, two novels, several stories, screenplays and plays, to stage five full-length films based on his own scripts ("Such a guy lives", "Your son and brother", "Strange people" , "Stove-benches", "Kalina krasnaya"), to play more than twenty roles. This would be enough for several long and full-blooded creative lives, but on the eve of his untimely death he himself believed that he was just beginning to create in real life, by and large ...

Born in a Siberian, that is, Russian, village, he did not at all need to study or comprehend the national character. Behind him lay a centuries-old, in many ways tragic history, the richest culture of folk art splashed.

“And here you are!” - his voice sounds deaf, full of bitterness and inner strength. “So you have to work.” And numerous "middle peasants" from cinema and literature, puzzled by the "Shukshin phenomenon", either continue to be perplexed, or rush into imitation, or pretend that nothing happened ...

Shukshin's works are a bright kaleidoscope of literature. Each of them has its own "zest", uniqueness, dissimilarity to others. One of his brightest works was the story "Kalina Krasnaya", which became one of his brightest directorial works.

V.M. Shukshin was born on July 25, 1929 in the village of Srostki, Altai Territory. After eight classes he entered the Biysk Automotive Technical School, but soon left it. He worked at construction sites, on a collective farm. He graduated from the tenth grade of secondary school as an external student. He worked as a rigger in Kaluga, Vladimir. He served in the navy (1949-1952), returning to his native village, was the secretary of the village district committee of the Komsomol, worked as a director at the evening school in the village of Srostki. In 1954 he entered the directing department of the All-Union State Institute of Cinematography. First appeared in print in 1959 in the Smena magazine.

For a long time Shukshin considered cinema his main vocation and worked as a director and actor. Films with his participation as a director, screenwriter, actor - "Such a Guy Lives", "Strange People", "Stoves-Benches", "Kalina Krasnaya", "They Fought for the Motherland" - have become a significant event in Soviet cinema in recent decades. In 1964. the film "Such a Guy Lives" received an award of the Venice International Festival "Golden Lion of St. Mark".

Shukshin - the author of the novels "Lyubavins" and "I Came to Give You Free" - about Stepan Razin. He wrote the stories "There, in the Distance", "Red Kalina", "Until the Third Cocks", the play "Energetic People", many stories that have compiled collections - "Countrymen", "Countrymen", "Characters", "Conversations in the Clear Moon ". Shukshin's talent as a writer was most vividly revealed in his short, extremely capacious stories, imbued with love for a working man and contempt and hatred for parasites, bourgeois, and grabbers.

V. Shukshin's great services - a writer, film director and actor - were awarded the titles of Honored Art Worker of the RSFSR, laureate of the State Prizes of the USSR and the RSFSR. He was posthumously awarded the title of laureate of the Lenin Prize (1976).

1.2 An overview of the writer's work, the main themes of creativity, the main works

The writer took his material for his works wherever people live. What kind of material is it, what kind of heroes? That material and those heroes that rarely fell into the field of art before. Apparently, it was so necessary for a great talent to appear from the depths of the people, so that with love and respect he told a simple, strict truth about his fellow countrymen. And this truth has become a fact of art, aroused love and respect for the author himself.

Lovers of "distilled" prose demanded a "handsome hero", demanded that the writer invent and not disturb them with his deep knowledge of real life. Shukshin's heroes turned out to be not only unfamiliar, but also incomprehensible. The polarity of opinions, harsh assessments arose, oddly enough, precisely because the heroes were not invented. When a hero is invented, and often to please someone, this is where complete immorality manifests itself. And when the hero is a real person, he cannot be only moral or only immoral. Is it not from here, from a misunderstanding of Shukshin's creative position, that creative errors of perception of his heroes come. Indeed, in his heroes the immediacy of the action, the logical unpredictability of the action are striking: either he suddenly performs a feat, then suddenly he escapes from the camp three months before the end of the term. The characters of the writer are really impulsive and extremely natural. And they do so because of internal moral concepts, which they themselves may not have realized yet. They have a heightened reaction to humiliation of a person by a person. This reaction takes on a variety of forms. Sometimes it leads to the most unexpected results. Shukshin himself admitted: "It is most interesting for me to investigate the character of a non-dogmatic person, a person who is not planted on the science of behavior. Such a person is impulsive, gives in to impulses, and, therefore, is extremely natural. But he always has a rational soul."

Shukshin never looked specifically for material for creativity, he, like we all live, saw and heard the same thing that we see and hear. The most that neither is the fluidity of life, which so oppresses and seizes us, it gave him both "plots" and "characters".

For Shukshin, the whole story is important, all his heroes and characters.

The theme of a village man, torn from his familiar environment and not finding new support in life, became one of the main themes of Shukshin's stories.

Shukshin's stories, referring to "village prose", differed from its main stream in that the author's attention was focused not so much on the foundations of folk morality, but on the difficult psychological situations in which the heroes found themselves. The city attracted the Shukshin hero, as the center of cultural life, and repelled with its indifference to the fate of an individual. Shukshin felt this situation as a personal drama. "So it happened to me by the age of forty. Not urban to the end, and not rural already. Terribly not a comfortable position. It's not even between two chairs, but rather like this - one foot to the shore, the other in a boat. And you can't not swim, and it's kind of scary not to swim ... "

This difficult psychological situation determined the unusual behavior of Shukshin's heroes, whom he called "strange, unlucky people." The name "freak" has stuck in the minds of readers and critics. It is the "freaks" who are the main characters of the stories, united by Shukshin into one of the best collections "Characters".

"Human sorrows and sorrows - living and quivering threads ..." These are lines from Shukshin's story "I Believe" - ​​lines that are the most accurate definition of many of Shukshin's artistic studies, a large one, stretching from the first collection to the story "Friends of games and fun" (from the last lifetime publication) way.

The folk art of this writer explains the phenomenal nature of his talent, his naturalness, high simplicity, and artistry.

1.3 The place of the selected work in the work of the writer

The delivery of the film "Kalina Krasnaya" caused a number of complications. The resulting general creative and human overstrain of Vasily Makarovich affected his health, and at the beginning of 1974 he again ended up in the hospital.

Each hospital is, among other things, also a warning, advice that you need to be careful, in some way change the rhythm of life. However, Shukshin could not sit idle.

Everyone who wrote and spoke about the work of Vasily Shukshin could not, without surprise and some sense of confusion, not say about his almost incredible versatility.

After all, Shukshin the cinematographer organically penetrates into Shukshin the writer, his prose is visible, his film is literary in the best sense of the word, it cannot be perceived "in sections", and now, reading his books, we see the author on the screen, and looking at the screen, we remember his prose.

This fusion of the most varied qualities and talents, not only into a whole, but also into a very definite, completely finished one more and more pleases and surprises us today, will always delight and surprise.

Shukshin belonged to Russian art in that tradition, due to which the artist did not really humiliate himself, but did not notice himself in the face of the problem that he raised in his work, in the face of the object that became for him an object of art.

Shukshin was not only not peculiar, but also contraindicated any demonstration of oneself, any indication of oneself, although to whom, but he had something to demonstrate. It was thanks to this shyness in relation to himself that he became unforgettable for others.

1.4 Analysis of the selected work (story "Red Kalina")

About Shukshin's work, one can say - to live among people, incidents, impressions, each of which requires its own, and a legitimate place in art, each, pushing everything else, tears through you to paper, to the stage, to the screen, insistently demanding and grumbling, - It is very difficult.

Here we recall the film story "Kalina Krasnaya" written in 1973 by V. Shukshin. The main character is Yegor Prokudin. Egor is inconsistent: now he is emotionally lyrical and embraces one birch tree after another, now he is rude, now he is a ruffian and a bum, a lover of drinking, now he is a kind-hearted person, now a bandit. And now some critics were very confused by this inconsistency, and they took it for the lack of character and "truth of life."

Critics did not immediately notice that such a way of life until now has not been possible, perhaps, to create anyone - not a single writer, not a single director, not a single actor, and Shukshin therefore succeeded because he is Shukshin, who piercingly saw people around him, their fates, their life twists and turns, because he is a writer, a director and an actor all rolled into one.

Prokudin's inconsistency is not at all so simple, spontaneous and not conditioned by anything, it is by no means an empty space and not a lack of character.

Prokudin is consistently inconsistent, and that's something else. This is already logic. His logic is not our logic, it cannot, and probably should not be accepted and divided by us, but this does not mean at all that it does not exist, that it is not able to open up to us and be understood by us.

Not quickly and not quietly, but with an even step, Yegor moves along the arable land he has just plowed towards his death.

He walks, knowing where he is going.

Goes, first sending away his henchman on plowing, so that he would not be a witness of what will inevitably happen now, so that a person who has nothing to do with Prokudin's fate would not face any danger, some kind of witness troubles.

The beat of Prokudin's tarpaulin boots on the wooden walkways is heard loudly and for a long time, when he is released from prison into freedom, but now he is almost inaudible, but in the same rhythm he walks through the arable land from free to death, and the circle closes, and everything becomes clear to us.

But then we understand that this person should have done just that - all his previous inconsistencies started talking about it.

Prokudin neither pity, nor love, nor patronage, nor help - he would not accept anything from us, but he needs our understanding. It is necessary in its own way - after all, he resists this understanding all the time, it was not for nothing that he was so inconsistent and threw out his knees, but all this because our understanding was necessary for him.

And then you involuntarily begin to think that Prokudin gives us an understanding not only of himself, but also of his artist - Vasily Shukshin.

Time is running. Those born in the year of Shukshin's death become his readers today. For them, he unwittingly is the name of the classic series. But the years that have passed since his death have not lost their desired meaning in the words, which he wrote with a capital letter. People, True, living Life. Each word is a reflection of Shukshin's soul, his position in life - never give up, not bend under the weight of life, but, on the contrary, fight for his place under the sun.

The last years of Shukshin's life were such a period when everything that surrounded him - all people and facts - became an object of art for him, whether it concerned a quarrel with a watchman in a hospital or studying the biography and deeds of Stepan Razin.

In modern Russian literature, Shukshin's works have remained a unique artistic phenomenon. Reading his stories, you need to ponder their essence, delve into every word, feel and hear what his characters feel. The protagonists of most of his stories are rural and urban common people. The writer in them admires their dissimilarity, originality, ruffness, self-esteem. It is these qualities that make his heroes close, dear to us.

In his story "Kalina Krasnaya" Shukshin showed another life. The life of a "small", but at the same time a big person. Big ... experienced the hardships of life, but managed to get on the right path, not gone along the "uneven path".

For me, Shukshin's works are vivid life examples ... examples that teach me to understand life. His stories as a guide to readers. All his heroes make mistakes, but in the end, these mistakes lead to the right path, to a new life. Using Yegor Prokudin as an example, I discovered a new quality of a person - inconsistency that leads to truth. It turns out that the correct path can not always be found with the help of rules and life examples. There are also such - special, not similar to anyone else, but achieving success in life.

1. Shukshin V.M. Stories. - L .: Lenizdat, 1983 .-- 477 p.

2. Shukshin V.M. Stories. - M .: Det. Lit., 1990 .-- 254 p.

Dark biography pages

The old school is now a museum. Once studied here, and later taught Vasily Makarovich. Everything here breathes with the atmosphere in which Shukshin grew up. Old school desk, maps, pens, pointers, textbooks. Here he met his first wife, who also taught at this school. I met, met, got married. And when he left to study in Moscow, he did not return to his wife. He didn’t even come back to get a divorce. There is still no explanation for this act. Shukshin married a second time in Moscow. His second wife was the daughter of the famous Soviet writer Anatoly Sofronov, who at that time headed the Ogonyok magazine. Vasily Shukshin did just that - he told the police that he had lost his passport. And they gave him a new passport, without stamps about marriage and divorce. So he lived without divorce, although in his short life he managed to marry three times. The first wife waited a long time for her husband. Now she has a new family, but when she remembers Shukshin, no, no, and she will cry. Apparently, she has many memories associated with Vasily Makarovich.

These words interested us, and we asked if we could go to her and talk about Shukshin. But the guide shook her head and explained that such conversations were unusually difficult for her, and her second husband was angry when someone started a conversation about Shukshin. He is still jealous of him, although Shukshin has long been dead. Maybe because, in fact, the wife is still Shukshin's wife.

From the school we walked unhurriedly along the village streets past the former house of the Shukshin, past the place where Vasily Shukshin spent his childhood, straight to Mount Piket. Here on the mountain, from time to time, Shukshin readings are held, where guests from different cities of Russia come and local poets and prose writers often perform. Bards also come here, form a tent city and sing songs about Shukshin, about their native lands, about Russia. This is a good place, free. And the mountain Katun flows nearby. Here Vasily Makarovich bought a house for his mother when he received a fee for the Lyubavins. Wives changed, but only mother remained beloved for life. Shukshin treated her touchingly, tenderly, respectfully. Although both were stingy with feelings, they did not embrace, they did not kiss in front of everyone, they talked about the main and serious in private. On all vital issues, Shukshin consulted only with her. And when I entered college, and when I was going to get married, and maybe even when I was going to start my next new job. He took it off in "Kalina Krasnaya", immortalized his beloved mother forever. The monument to Shukshin stands next to the house, in a small garden, next to the viburnum, which is actually red. The mother survived her son, who lived only 45 years. If you count how many years his life was devoted to creativity, then there will be nothing at all - 15 years. To write so much in fifteen years, to shoot so much, to enter the history of cinema as a wonderful actor and director, in literature as a national writer, you probably needed a lot of strength, both moral and physical. We can say that Shukshin burned in creativity and burned out prematurely, not appreciated during his lifetime as he should have been, including in his own homeland.

Loyalty to a great man is difficult. His mother was faithful to him. Mother could not go to the funeral, did not come to Moscow. She could not believe that her son was no longer there, and she did not have the strength to go to the grave. But one of their admirers of Vasily Makarovich, began to write to her, and described in detail what flowers she plants, how the viburnum is leaning towards the monument, the same red as in the novel, as in the mother's garden.

Vasily Makarovich Shukshin was buried at the Novodevichy cemetery in Moscow. His grave is neat and well-groomed, apparently, there are still people who revere his work, who come to bow to the grave of the writer and director. Everything is as it should be, only now my heart aches from how quickly his widow came to her senses from the loss. She married one, then another, all in sight, in front of the people. It is difficult to understand how the leader of a fashionable pop group can replace a great person in the heart. Although each has its own truth. The widow herself says that life was not easy for her with the writer, that he drank and scolded, and when he was jealous, he could hit him. It is difficult to live next to a very talented person. In life, they are not so good and unambiguous, however, like their heroes.

... are not the "little people" of Russian classical literature. Each of them Shukshin makes significant in his own way, for they are humane, philanthropic. And although the author laughs at them, he treats them with respect. Shukshin's stories are a whole encyclopedia of types and problems of the time. Conclusion On the night of October 2, 1974, Vasily Makarovich became ill. He took medicine, but it didn't work for him. On...

This process is associated with the well-known loss of previous skills, work traditions, and family life. The replacement of the old with the new can be accompanied by negative phenomena of the moral order. V. Shukshin sees and analyzes them. Reproducing the sometimes bizarre interweaving of the funny and the dramatic, the writer warns us against a frivolous attitude to what is happening, against thoughtless laughter. Fading ...