Composition

Good and evil are mixed.
V. Rasputin

It is difficult to find a work in the history of literature that does not comprehend the problems of spirit and morality and does not defend moral and ethical values.
The work of our contemporary Valentin Rasputin is no exception in this regard.
I love all the books of this writer, but I was especially shocked by the story “Fire,” published during perestroika.
The eventual basis of the story is simple: warehouses caught fire in the village of Sosnovka. Who saves people's property from the fire, and who grabs what they can for themselves. The way people behave in an extreme situation serves as an impetus for the painful thoughts of the main character of the story, driver Ivan Petrovich Egorov, in whom Rasputin embodied the popular character of a lover of truth, suffering at the sight of the destruction of the age-old moral basis of existence.
Ivan Petrovich is looking for answers to the questions that the surrounding reality throws at him. Why “has everything turned upside down?.. It was not supposed to, not accepted, it became supposed and accepted, it was impossible - it became possible, it was considered a shame, a mortal sin - it is revered for dexterity and valor.” How modern these words sound! Indeed, even today, sixteen years after the publication of the work, forgetting elementary moral principles is not a shame, but “the ability to live.”
Ivan Petrovich made the rule of his life “to live according to conscience”; it pains him that during a fire, the one-armed Savely drags bags of flour into his bathhouse, and the “friendly guys - Arkharovites” first of all grab boxes of vodka.
But the hero not only suffers, he tries to find the reason for this moral impoverishment. At the same time, the main thing is the destruction of the centuries-old traditions of the Russian people: they have forgotten how to plow and sow, they are accustomed to only taking, cutting down, and destroying.
The residents of Sosnovka do not have this, and the village itself is like a temporary shelter: “Uncomfortable and unkempt... bivouac type... as if they were wandering from place to place, stopped to wait out the bad weather, and ended up stuck...”. The absence of a Home deprives people of their life basis, kindness, and warmth.
Ivan Petrovich reflects on his place in the world around him, because “... there is nothing easier than getting lost in yourself.”
Rasputin’s heroes are people who live according to the laws of morality: Egorov, Misha Hampo’s uncle, who at the cost of his life defended the moral commandment “thou shalt not steal.” In 1986, Rasputin, as if foreseeing the future, spoke about the social activity of a person who could influence the spiritual atmosphere of society.
One of the important issues in the story is the problem of good and evil. And again I was amazed by the visionary talent of the writer, who declared: “Good in its pure form has turned into weakness, evil into strength.” The concept of “a good person” has also disappeared from our lives; we have forgotten how to evaluate a person by his ability to feel the suffering of others and to empathize.
The story sounds one of the eternal Russian questions: “What to do?” But there is no answer to it. The hero, who decides to leave Sosnovka, does not find peace. The ending of the story is impossible to read without excitement: “A little lost man is walking along the spring land, desperate to find his home...
The earth is silent, either greeting or seeing him off.
The earth is silent.
What are you, our silent land, how long are you silent?
And are you silent?”
The Russian writer Valentin Rasputin, with civil frankness, raised the most pressing problems of the time and touched on its most painful points. The very name “Fire” takes on the character of a metaphor, carrying the idea of ​​moral trouble. Rasputin convincingly proved that the moral inferiority of an individual person inevitably leads to the destruction of the foundations of the life of the people.

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“Forgive us, Lord, that we are weak,
slow-witted and soul-destroyed.
There is no question from a stone that it is a stone,
it will be asked of a person.”
V.G.Rasputin

I. Org. moment

II. Motivation

Guys, I want to remind you of watching and discussing the film “We are from the future.” (View short fragments).

When discussing this film, we all paid attention to the problems raised by its authors. Formulate them: (Slide 1)

the problem of human gratitude for what past generations have done and responsibility for the future;

the problem of young people who do not feel part of a single chain of generations;

the problem of true patriotism;

problems of conscience, morality and honor.

These problems are raised by the authors of the film, our contemporaries. Tell me, have similar problems been raised in Russian classical literature? Give examples of works (“War and Peace”, “The Captain’s Daughter”, “Taras Bulba”, “The Tale of Igor’s Campaign”, etc.)

So, we found out that there are problems that have worried humanity for centuries, these are the so-called “eternal” problems.

In the last lesson we talked about the work of V.G. Rasputin, at home you read his story “Farewell to Matera.” And what “eternal” problems does V.G. raise? Rasputin in this work? (Slide 2)

The problem of a person who perceives himself as a link in an endless chain of generations, who does not have the right to break this chain.

Problems of preserving traditions.

Searching for the meaning of human existence and human memory.

III. Reporting the topic of the lesson, working with an epigraph

(Slide 4) The topic of our lesson today is “Current and eternal problems in the story by V.G. Rasputin “Farewell to Matera”. Look at the epigraph to the lesson. In the mouth of which of his heroes does Rasputin put these words? (Daria)

IV. Communicating Lesson Objectives to Students

Today in class we will not only talk about this heroine, (Slide 5) but also

• Let's analyze the episodes of the story and answer the problematic questions formulated at the beginning of the lesson.
• Let us characterize the heroes of the work and give them an assessment.
• Let's identify the features of the author's and speech characteristics in the story.

V. Learning new material

1. Conversation with students

The story shows the village in the last summer of its existence. Why did this particular time interest the writer?

Why does he think we, the readers, should know about this? (Maybe because the death of Matera is a time of testing for a person, characters and souls are laid bare and you can immediately see who is who?). Let's look at the images of the heroes of the work.

2. Analysis of the images of the story

How do we see Daria at the beginning of the story? Why are people drawn to her?

(“Daria had a character that had not softened or been damaged over the years, and on occasion she knew how to stand up not only for herself.” In each of our settlements there has always been and is another one, or even two old women with a character under whose protection the weak are drawn and passive." Rasputin)

Why didn’t Daria’s character soften or get damaged? Maybe because she always remembered her father’s behests? (About conscience p.446)

Watch a video about Daria's visit to a rural cemetery.

What worries Daria? Doesn't give her peace? What questions are bothering her?

(And now what? I can’t die in peace, that I abandoned you, that it’s in my life, not in anyone’s lifetime, our family will be cut off and carried away). Daria feels like she is part of a single chain of generations. It pains her that this chain might break.

(And who knows the truth about a person: why does he live? For the sake of life itself, for the sake of children, or for the sake of something else?). Daria can be called a folk philosopher: she seriously thinks about the meaning of human life, about its purpose.

(And it was hard for Daria to believe that she was alive; it seemed that she was saying these words, having just learned them, before they managed to forbid her to open them. The truth is in memory. He who has no memory has no life). She finds her life truth. She is in memory. He who has no memory has no life. And these are not just words for Daria. Now I invite you to watch another video, and while watching it, think: how this act of Daria confirms her philosophy of life, comment on it.

Video “Farewell to the hut.”

Conclusion. (Slide 6) An illiterate village person, Grandma Daria thinks about what should concern all people in the world: what are we living for? How a person for whom generations have lived should feel. Daria understands that her mother’s previous army gave everything for her that is true in memory. She is sure: “He who has no memory has no life.”

b) Images of the heroes of the story who are not indifferent to what is happening.

Which of the characters in the work is close in views and beliefs to Daria? Why? Give examples from the text. (Baba Nastasya and grandfather Egor, Ekaterina, Simka, Bogodul have similar views on life, on what is happening, close to Daria in spirit, since they experience what is happening, feel responsible for Matera before their ancestors; they are honest, hardworking; they live according to their conscience).

Which of the heroes is opposed to Daria? Why? (Petrukha, Klavka. They don’t care where to live, they are not upset that the huts built by their ancestors will burn down. The land cultivated by many generations will be flooded. They have no connection with the Motherland, with the past).

(As the conversation progresses, the table will be filled in)

Working with a publication

Open the second pages of your publications. Look at the speech and author characteristics of the characters. What can you say about them?

How can you call people like Daria and people like Petrukha and Katerina? (Caring and indifferent) (Slide 7)

About people like Klavka and Petrukha, Rasputin says: “People forgot that each of them was not alone, they lost each other, and now there was no need for each other.” “We can say about people like Daria that they got used to each other and loved being together. Of course, life away from each other is of no interest to them. Besides, they loved their Matera too much. (on the slide after the table). At home you will have to continue working with publications by answering questions.

3. Analysis of the episode of the destruction of the cemetery (chapter 3), filling out the SLS.

In the scene of the destruction of the cemetery, we see a clash between the residents of Matera and the vandal workers. Select the necessary lines for dialogue without the author’s words in order to contrast the heroes of the story and separate them on different sides. (Students' answers)

That. we see that the author contrasts the workers with the villagers. In this regard, I would like to give an example of a statement by the critic Yu. Seleznev, who speaks of the earth as the land-Motherland and land-territory: “If land is a territory and nothing more, then the attitude towards it is appropriate.” The Motherland is being liberated. The territory is being captured. The owner of the land-territory is a conqueror, conqueror. About the land, which “belongs to everyone - who was before us and who will pass after us” you cannot say: “After us even a flood...”. A person who sees only territory in the earth is not too interested in what came before him and what will remain after him...”

Which of the heroes treats Matera as a land-Motherland, and who as a land-territory”? (During the conversation, the SLS is filled out) (Slide 8)

Our homeland, like our parents, is not chosen; it is given to us at birth and absorbed during childhood. For each of us, this is the center of the Earth, regardless of whether it is a large city or a small village somewhere in the tundra. Over the years, as we grow older and live our destiny, we add more and more regions to the center; we can change our place of residence, but the center is still there, in our “small” homeland. It cannot be changed.

V. Rasputin. What's in the word, what's behind the word?

4. Returning to the epigraph and working with it.

(Slide 10) Let's remember the epigraph to our lesson today: Forgive us, Lord, that we are weak, slow-witted and ruined in soul. It doesn't matter to a stone that it is a stone, but to a person it does.

I think you will agree with me that the residents of Matera are innocent victims in this situation. Zhuk and Vorontsov are the performers. So who will be held accountable for these outrages? Who is to blame for the tragedy of Matera and its inhabitants?

(People with power will be asked of them.)

Do these people understand what they are doing? How does the author himself evaluate their actions?

(We recall the episode of wandering in the fog in search of Matera. As if the author is saying that these people are lost and do not know what they are doing).

5. The question of the relevance of the problems raised by Rasputin.

Guys, look again at the topic of the lesson: “Current and eternal problems in the story by V.G. Rasputin “Farewell to Matera”. Today we talked about eternal problems. What are these problems? (students call them).

What does the word relevant mean? (Significant, important even now for us)

What current problems does Rasputin raise in the story? (Ecological problems (environmental protection), problems of “ecology of the soul”: it is important who each of us feels like: a temporary worker who wants to grab a fatter piece of life, or a person who recognizes himself as a link in an endless chain of generations). Do these problems concern us? How acute are environmental problems facing us? (you can remember the episode with our lake falling asleep).

So the problems raised by Rasputin can rightfully be called both eternal and relevant? Once again I want to draw your attention to the epigraph to the lesson: Forgive us, Lord, that we are weak, slow-witted and ruined in soul. It doesn't matter to a stone that it is a stone, but to a person it does.

Each of us will definitely be asked for all our deeds and actions.

VI. Summing up

Rasputin is worried not only about the fate of the Siberian village, but also about the fate of the entire country, the entire people, he is worried about the loss of moral values, traditions, and memory. Despite the tragic ending of the story, moral victory remains with responsible people who bring goodness, preserve memory and support the fire of life in any conditions, under any trials.

VII. Homework

1. Write a miniature essay: “Memory and its moral manifestations in adolescence.”
2. Fill out the table “Symbols that help reveal the author’s intent.”
3. Continue working with publications by answering the questions (p. 2).

Rasputin's work "Fire" was published in 1985. In this story, the writer continues to analyze the life of the people from the story “Farewell to Matera” who moved to another village after the island was flooded. They were moved to the urban-type settlement of Sosnovka. The main character, Ivan Petrovich Egorov, feels exhausted morally and physically: “like in a grave.”

The eventual basis of the story is simple: warehouses caught fire in the village of Sosnovka. Who saves people's property from the fire, and who grabs what they can for themselves. The way people behave in an extreme situation serves as an impetus for the painful thoughts of the main character of the story, driver Ivan Petrovich Egorov, in whom Rasputin embodied the popular character of a lover of truth, suffering at the sight of the destruction of the age-old moral basis of existence.

The situation with the fire in the story allows the author to explore the present and the past. Warehouses are burning, goods that people have not seen on the shelves: sausages, Japanese rags, red fish, a Ural motorcycle, sugar, flour. Some people, taking advantage of the confusion, are stealing what they can. In the story, the fire is a symbol of disaster for the social atmosphere in Sosnovka.

Ivan Petrovich is looking for answers to the questions that the surrounding reality throws at him. Why “has everything turned upside down?.. It was not supposed to, not accepted, it became supposed and accepted, it was impossible - it became possible, it was considered a shame, a mortal sin - it is revered for dexterity and valor.” Ivan Petrovich made the rule of his life “to live according to conscience”; it pains him that during a fire, the one-armed Savely drags bags of flour into his bathhouse, and the “friendly guys - Arkharovites” first of all grab boxes of vodka.

But the hero not only suffers, he tries to find the reason for this moral impoverishment. At the same time, the main thing is the destruction of the centuries-old traditions of the Russian people: they have forgotten how to plow and sow, they are accustomed to only taking, cutting down, and destroying.

In all the works of V. Rasputin, a special role is played by the image of the house: the house of the old woman Anna, where her children gather, the Guskovs’ hut, which does not accept a deserter, Daria’s house, which goes under the water. The residents of Sosnovka do not have this, and the village itself is like a temporary shelter: “Uncomfortable and unkempt... bivouac type... as if they were wandering from place to place, stopped to wait out the bad weather, and ended up stuck...”. The absence of a Home deprives people of their life basis, kindness, and warmth. The reader feels acute anxiety from the picture of the ruthless conquest of nature. A large volume of work requires a large number of workers, often random ones. The writer describes a layer of “superfluous” people, indifferent to everything, who cause discord in life.

They were joined by the “Arkharovites” (organizational recruitment brigade), who brazenly put pressure on everyone. And the local residents were at a loss before this evil force. The author, through the reflections of Ivan Petrovich, explains the situation: “people scattered all over themselves even earlier.” Social strata in Sosnovka were mixed. There is a disintegration of the “common and harmonious existence.” Over the twenty years of living in the new village, morality has changed. In Sosnovka, houses don’t even have front gardens, because these are temporary housing anyway. Ivan Petrovich remained faithful to the previous principles, the norms of good and evil. He works honestly, worries about the decline of morals. And it finds itself in the position of a foreign body. Ivan Petrovich's attempts to prevent the Ninth's gang from taking over power end in the gang's revenge. Either they will puncture the tires of his car, then they will pour sand into the carburetor, then they will cut the brake hoses to the trailer, or they will knock out the rack from under the beam, which almost kills Ivan Petrovich.

Ivan Petrovich has to get ready with his wife Alena to leave for the Far East to visit one of his sons, but he will not be able to leave this land.

There are many positive characters in the story: Ivan Petrovich’s wife Alena, old uncle Misha Hampo, Afonya Bronnikov, head of the timber industry section Boris Timofeevich Vodnikov. Descriptions of nature are symbolic. At the beginning of the story (March) she is lethargic and numb. At the end there is a moment of calm, before blossoming. Ivan Petrovich, walking on the spring earth, “as if he had finally been carried out on the right road.”

"Farewell to Matera"

In the story, traditionally for Rasputin, the reader is presented with “old old women”: Daria Pinegina, Katerina Zotova, Natalya, Sima, as well as the male hero Bogodul. Each of them has a hard working life in the past. Now they live as if to continue the family (human) line, considering this their main goal. Rasputin makes them bearers of people's moral values ​​and contrasts them with the “obsevkov” - those who do not care about Matera, who leave their native walls without regret. This is Andrey, Daria’s grandson: the land of his ancestors and its fate do not concern him, his goal is a large construction project, and he argues with his father and grandmother, denying their values.

In general, the composition of the story is rather vague; it is presented as a chain of events connected, so to speak, only by internal meaning, chronology. Everything that happens directly concerns Matera, the fact of its inevitable (as the author emphasizes) disappearance, hence all the experiences of its inhabitants. All characters with a significant degree of confidence submit to the system of opposition between true villagers, with their range of values, and the so-called “residues”. On this basis, we can also consider the means used by the author to ensure that the reader understands how he relates to certain characters. Rasputin gives his favorite heroines original Russian names, evoking something rustic: Daria Pinegina, Natalya Karpova, Katerina. He endows such a colorful character as Bogodul with features similar to the hero of Russian fairy tales, the goblin.

In contrast to them, Rasputin awards derogatory names to heroes unpleasant to him - Klavka Strigunov, Petrukha (in the past - Nikita Zotov, later renamed for greater similarity with the farcical Petrushka). Their speech also adds negative traits to such characters - it is literary poor, with illiterately constructed phrases, and if correctly, then full of cliches (“Shall we understand or what shall we?”). It is noteworthy that in the story the positive characters are old women and children (little Kolya). Both are helpless; in fact, they are being replaced by the “young tribe.”

Rasputin writes that the old, dying world is the only abode of holiness and harmony. After all, the residents (or rather, mostly the women) of Matera are not really concerned about any external problems; they live in their own closed world. That is why the penetration of the external, cruel and aggressive world is so scary for them. Matera simply dies from its influence.

Lesson objectives:

Lesson equipment: portrait of V.G. Rasputin

Methodical techniques:

Lesson progress

I. Teacher's word

Valentin Grigorievich Rasputin (1937) is one of the recognized masters of “village prose”, one of those who continues 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 towards the world and an unwise, fussy, thoughtless existence. In his stories “Money for Maria” (1967), “The Last Term” (1970), “Live and Remember” (1975), “Farewell to Matera” (1976), “Fire” (1985), one can hear anxiety for the fate of the homeland. The writer looks for ways to solve problems in the best features of the Russian national character, in patriarchy. Poeticizing the past, the writer acutely poses the problems of our time, affirming eternal values, and calls for their preservation. His works contain pain for his country, for what is happening to it.

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“Lesson 4. Current and eternal problems in the story by V.G. Rasputin "Farewell to Matera"

Lesson 4. Current and eternal problems

in the story by V.G. Rasputin "Farewell to Matera"

Lesson objectives: give a brief overview of the work of V.G. Rasputin, pay attention to the variety of problems posed by the writer; to form a caring attitude towards the problems of one’s country, a sense of responsibility for its fate.

Lesson equipment: portrait of V.G. Rasputin

Methodical techniques: teacher's lecture; analytical conversation.

Lesson progress

I. Teacher's word

Valentin Grigorievich Rasputin (1937) is one of the recognized masters of “village prose”, one of those who continues 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 towards the world and an unwise, fussy, thoughtless existence. In his stories “Money for Maria” (1967), “The Last Term” (1970), “Live and Remember” (1975), “Farewell to Matera” (1976), “Fire” (1985), one can hear anxiety for the fate of the homeland. The writer looks for ways to solve problems in the best features of the Russian national character, in patriarchy. Poeticizing the past, the writer acutely poses the problems of our time, affirming eternal values, and calls for their preservation. His works contain pain for his country, for what is happening to it.

In the story “Farewell to Matera,” Rasputin starts from an autobiographical fact: the village of Ust-Uda, Irkutsk region, where he was born, subsequently fell into a flood zone and disappeared. In the story, the writer reflected general trends that are dangerous primarily from the point of view of the moral health of the nation.

II. Analytical conversation

What problems does Rasputin pose in the story “Farewell to Matera”?

(These are both eternal and modern problems. Environmental problems are especially pressing now. This concerns not only our country. All of humanity is concerned with the question: what are the consequences of scientific and technological progress, of civilization as a whole? Will progress lead to the physical destruction of the planet, to the extinction life? The global problems raised by writers (not only V. Rasputin) are being studied by scientists and taken into account by practitioners. Now it is clear to everyone that the main task of humanity is to preserve life on earth. ecology of the soul.” It is important who each of us feels like: a temporary worker who wants a fatter piece of life, or a person who recognizes himself as a link in an endless chain of generations, who does not have the right to break this chain, who feels gratitude for what past generations have done and responsibility for the future. That is why problems of relations between generations, problems of preserving traditions, and the search for the meaning of human existence are so important. Rasputin's story also poses problems of contradictions between urban and rural ways of life, problems of the relationship between the people and the authorities. The writer initially puts spiritual problems in the foreground, which inevitably entail material problems.)

What is the meaning of the conflict in Rasputin's story?

(The conflict in the story “Farewell to Matera” belongs to the category of eternal: it is a conflict between the old and the new. The laws of life are such that the new inevitably wins. Another question: how and at what cost? By sweeping aside and destroying the old, at the cost of moral degradation, or by taking the best , what is in the old, transforming it?

“The new in the story set the goal of breaking the old, age-old foundations of life in half. The beginning of this turning point began during the years of the revolution. The revolution gave rights to people who, in their aspiration for a new life, did not want and could not appreciate what had been created before them. The heirs of the revolution, first of all, destroy, create injustice, and show their short-sightedness and narrow-mindedness. According to a special decree, people are deprived of the houses built by their ancestors, property acquired by labor, and the very opportunity to work on the land is taken away. Here the eternal Russian question of land is solved simply. It does not consist in who should own the land, but in the fact that this land is simply taken out of economic circulation and destroyed. Thus, the conflict acquires a socio-historical meaning.)

How does the conflict develop in the story? What images are opposed?

(The main character of the story is old Daria Pinigina, the patriarch of the village, with a “strict and fair” character. The “weak and suffering” are drawn to her, she personifies the people’s truth, she is the bearer of folk traditions, the memory of their ancestors. Her house is the last stronghold of the “lived in” world, in contrast to the “unthinking, undead” that the men from the outside bring with them. The men are sent to burn houses from which people have already been evicted, destroy trees, destroy the cemetery. They, strangers, do not feel sorry for what is dear to Daria. These people are just a blunt instrument, cutting at the living without pity. The same is the chairman of the former “village council, and now the council in the new village” Vorontsov. He is a representative of the authorities, which means he is responsible for what is happening. However, responsibility is shifted to the higher authorities that act. nationwide. A good goal - the industrial development of the region, the construction of a power plant - is achieved at a price that is immoral to pay. The destruction of the village is hypocritically covered up with words about the good of the people.)

What is the drama of the conflict?

(The drama of the conflict is that Daria, her loving, caring attitude towards Matera, is opposed by her own son and grandson - Pavel and Andrey. They move to the city, move away from the peasant way of life, indirectly participate in the destruction of their native village: Andrey is going to work at the power plant.)

What does Daria see as the reasons for what is happening?

(The reasons for what is happening, according to Daria, who is watching with pain the destruction of Matera, lie in the human soul: a person is “confused, completely overplayed,” fancies himself the king of nature, thinks that he has ceased to be “small”, “Christ-like”, has too much self-importance "Daria's reasoning is only naive in appearance. They are expressed in simple words, but, in essence, they are very deep. She believes that God is silent, “tired of asking people,” and evil spirits have reigned on earth,” Daria thinks. , but the main testament of our great-grandfathers is “to have a conscience and not suffer from conscience.”)

How is the moral ideal of a person embodied in the image of Daria?

(Daria is the embodiment of conscience, people’s morality, its guardian. For Daria, the value of the past is undeniable: she refuses to move from her native village, at least until the “grave graves” are moved. She wants to take away the “graves... "to a new place, wants to save not only the graves, but also the conscience itself from blasphemous destruction. For her, the memory of her ancestors is sacred. Her words sound like a wise aphorism: “He who has no memory, has no life.”)

How is Daria's moral beauty shown?

(Rasputin shows the moral beauty of Daria through the attitude of people towards her. People go to her for advice, they are drawn to her for understanding, warmth. This is the image of a righteous woman, without whom “the village does not stand” (remember Solzhenitsyn’s heroine from the story “Matrenin’s Dvor”).)

Through what is the image of Daria revealed?

(The depth of Daria’s image is also revealed in communication with nature. The heroine’s worldview is based on the pantheism characteristic of Russian people, the awareness of the inextricable, organic connection between man and nature.)

What is the role of Daria's speech?

(The speech characteristics of the heroine occupy a large place in the story. These are Daria’s thoughts, and her monologues, and dialogues, which gradually develop into a simple but coherent system of people’s views on life, ideas about life and man’s place in it.)

We read and comment on the key scenes that reveal the image of Daria: the scene in the cemetery, the argument with Andrei (Chapter 14), the scene of farewell to the hut, to the House.

The teacher's word.

“I have always been attracted to images of simple women, distinguished by selflessness, kindness, and the ability to understand another,” Rasputin wrote about his heroines. The strength of the characters of the writer’s favorite heroes lies in wisdom, in the people’s worldview, and in people’s morality. Such people set the tone and intensity of the spiritual life of the people.

How is the philosophical plan of the conflict manifested in the story?

(A private conflict - the destruction of a village and an attempt to defend and save one’s loved one, rises to a philosophical level - the confrontation between life and death, good and evil. This gives special tension to the action. Life desperately resists attempts to kill it: fields and meadows bring a bountiful harvest, they are full of living sounds - laughter, songs, the chirping of mowers. Smells, sounds, colors become brighter, reflecting the inner rise of the heroes, people who have long left their native village feel at home again, in local life.”)

(Rasputin uses one of the traditional symbols of life - a tree. The old larch - “royal foliage” - is a symbol of the power of nature. Neither fire, nor an ax, nor a modern weapon - a chainsaw - can cope with it.

There are many traditional symbols in the story. However, sometimes they take on a new sound. The image of spring does not mark the beginning of blossoming, not an awakening (“greenery flared across the earth and trees again, the first rains fell, swifts and swallows flew in”), but the last flash of life, the end of “an endless series of days of Matera - after all, very soon Angara will be at the behest of the builders of the power plant will flood the earth with water.

The image of the House is symbolic. He is depicted as spiritual, alive, feeling. Before the inevitable fire, Daria cleans the House the way a dead person is cleaned before a funeral: he whitewashes, washes, hangs clean curtains, stokes the stove, cleans the corners with fir branches, prays all night, “guiltyly humbly saying goodbye to the hut.” Associated with this image is the image of the Master - the spirit, the brownie of Matera. On the eve of the flooding, his farewell voice is heard. The tragic conclusion of the story is the feeling of the end of the world: the heroes who are the last to remain on the island feel “lifeless,” abandoned in the open emptiness.” The feeling of otherworldliness is enhanced by the image of the fog in which the island is hidden: All around there was only water and fog and nothing but water and fog.”

The main symbol appears to the reader already in the title. “Matera” is both the name of the village and the island on which it stands (this image is associated with both the Flood and Atlantis), and the image of mother earth, and the metaphorical name of Russia, the native country, where “from edge to edge ... there was enough... and expanse, and wealth, and beauty, and wildness, and every creature in pairs.")

III. We listen to messages on individual tasks(given in advance): image of fire (fire) - chapters 8, 18, 22; the image of “leaf” - chapter 19; the image of the “Master” - chapter 6; image of water.

IV. Lesson summary

Rasputin is worried not only about the fate of the Siberian village, but also about the fate of the entire country, the entire people, he is worried about the loss of moral values, traditions, and memory. Heroes sometimes feel the meaninglessness of existence: “Why look for some special, higher truth and service, when the whole truth is that you are of no use now and will not be later...” But hope still prevails: “Life is for that she and life, in order to continue, she will endure everything and will take up everywhere, even on bare stone and in an unsteady quagmire...” The symbolic image of grain sprouting through chaff, “blackened straw” seems life-affirming. A person, Rasputin believes, “cannot become angry,” he is “at the tip of a centuries-old wedge,” which “has no end.” The people, as the writer shows, demand “more and more impatiently and furiously” from each new generation, so that it does not “leave without hope and future” the entire “tribe” of people. Despite the tragic ending of the story (the ending is open), moral victory remains with responsible people who bring goodness, preserve memory and support the fire of life in any conditions, under any trials.

Additional questions:

1. After the release of the story “Farewell to Matera,” critic O. Salynsky wrote: “It is difficult to understand Rasputin when he does not at all elevate the great breadth of views of his heroes to dignity. After all, it is difficult for them to see a person in a person who lives not even far away, but only on the other side of the Angara... And Daria, although she has children and grandchildren, thinks only about the dead and considers them with an unexpectedness for the heroes of V. Rasputin selfishness that her life ends... Those who accept moving to a new place are portrayed as empty, immoral people by nature... the truths that were revealed to Daria before the “end of the world” are quite trivial and are not folk wisdom, but her imitation."

Do you agree with the critic's opinion? What do you think he is right about, and what are you willing to argue with? Justify your answer.

2. What role do semantic antitheses play in the story: Matera is a new village on the right bank of the Angara; old men and women are “sowing” people. Continue the series of contrasts.

3. What is the role of landscape in the story?

4. By what means is the image of the House created in the story? In what works of Russian literature is this image found?

5. What do you see in common in the titles of Rasputin’s works? What is the significance of the titles of his stories?

Moral issues of V. Rasputin’s story “Live and Remember”

The story “Money for Maria” brought V. Rasputin wide fame, and subsequent works: “The Last Term”, “Live and Remember”, “Farewell to Matera” - secured his fame as one of the best writers of modern Russian literature. In his works, moral and philosophical questions about the meaning of life, conscience and honor, and a person’s responsibility for his actions come to the fore. The writer talks about selfishness and betrayal, about the relationship between the personal and the social in the human soul, about the problem of life and death. We will find all these problems in V. Rasputin’s story “Live and Remember.”

War - this terrible and tragic event - has become a certain test for people. After all, it is in such extreme situations that a person shows the true traits of his character.

The main character of the story “Live and Remember,” Andrei Guskov, went to the front at the very beginning of the war. He fought honestly, first in a reconnaissance company, then in a ski battalion, then in a howitzer battery. And while Moscow and Stalingrad were behind him, while it was possible to survive only by fighting the enemy, nothing disturbed Guskov’s soul. Andrei was not a hero, but he did not hide behind his comrades either. He was taken into reconnaissance, he fought like everyone else, and was a good soldier.

Everything changed in Guskov’s life when the end of the war became visible. Andrey again faces the problem of life and death. And the instinct of self-preservation is triggered in him. He began to dream of being wounded in order to gain time. Andrei asks himself the question: “Why should I fight and not others?” Here Rasputin condemns the selfishness and individualism of Guskov, who at such a difficult moment for his homeland showed weakness, cowardice, betrayed his comrades, and was afraid.

The main character of Rasputin’s story “Live and Remember” is similar to another literary character - Rodion Raskolnikov, who asked himself: “Am I a trembling creature or do I have the right?” Rasputin touches on the problem of personal and social in the soul of Andrei Guskov. Does a person have the right to put his interests above the interests of the people and the state? Does a person have the right to step over centuries-old moral values? Of course not.

Another problem that worries Rasputin is the problem of human destiny. What prompted Guskov to flee to the rear - the official’s fatal mistake or the weakness that he gave in his soul? Maybe if Andrei had not been wounded, he would have overcome himself and reached Berlin? But Rasputin makes his hero decide to retreat. Guskov is offended by the war: it tore him away from his loved ones, from his home, from his family; she puts him in mortal danger every time. Deep down, he understands that desertion is a deliberately false step. He hopes that the train he is traveling on will be stopped and his documents checked. Rasputin writes: “In war, a person is not free to dispose of himself, but he did.”

The perfect act does not bring relief to Guskov. He, like Raskolnikov after the murder, must now hide from people, he is tormented by pangs of conscience. “Now all my days are dark,” says Andrei Nastena.

The image of Nastena is central to the story. She is the literary successor to Sholokhov's Ilyinichna from Quiet Don. Nastena combines the features of a rural righteous woman: kindness, a sense of responsibility for the fate of other people, mercy, faith in people. The problem of humanism and forgiveness is inextricably linked with her bright image.

Nastena found the strength to feel sorry for Andrei and help him. She felt in her heart that he was nearby. It was a difficult step for her: she had to lie, cheat, dodge, and live in constant fear. Nastena already felt that she was moving away from her fellow villagers, becoming a stranger. But for the sake of her husband, she chooses this path for herself, because she loves him and wants to be with him.

The war changed a lot in the souls of the main characters. They realized that all their quarrels and distance from each other in peaceful life were simply absurd. The hope for a new life warmed them in difficult times. The secret separated them from people, but brought them closer to each other. The test revealed their best human qualities.

Spurred by the realization that they would not be together for long, the love of Andrei and Nastena flared up with renewed vigor. Perhaps these were the happiest days of their lives. Home, family, love - this is where Rasputin sees happiness. But a different fate was prepared for his heroes.

Nastena believes that “there is no guilt that cannot be forgiven.” She hopes that Andrei will be able to go out to people and repent. But he does not find the strength to do such an act. Only from a distance does Guskov look at his father and does not dare to show himself to him.

Not only does Guskov’s act put an end to his fate and Nastena’s fate, but Andrei did not spare his parents either. Perhaps their only hope was that their son would return from the war as a hero. What was it like for them to find out that their son was a traitor and deserter! What a shame this is for old people!

For determination and kindness, God sends Nastya a long-awaited child. And here the most important problem of the story arises: does a deserter’s child have the right to be born? In the story “Shibalkovo Seed” Sholokhov already raised a similar question, and the machine gunner persuaded the Red Army soldiers to leave his son alive. The news about the child became the only meaning for Andrei. Now he knew that the thread of life would stretch further, that his lineage would not end. He says to Nastena: “When you give birth, I will justify myself, this is the last chance for me.” But Rasputin breaks the hero’s dreams, and Nastena dies along with the child. Perhaps this is the most terrible punishment for Guskov.

The main idea of ​​V. Rasputin’s story “Live and Remember” is a person’s moral responsibility for his actions. Using the example of Andrei Guskov’s life, the author shows how easy it is to stumble, show weakness and make an irreparable mistake. The writer does not accept any of Guskov’s explanations, because other people who also had families and children died in the war. You can forgive Nastena, who took pity on her husband and took his guilt upon herself, but there is no forgiveness for a deserter and traitor. Nastena’s words: “Live and remember” will pound in Guskov’s inflamed brain for the rest of his life. This call is addressed both to the residents of Atamanovka and to all people. Immorality breeds tragedy.

Everyone who reads this book should live and remember what not to do. Everyone must understand how wonderful life is, and never forget at the cost of how many deaths and distorted destinies the victory was won. Each work of V. Rasputin is always a step forward in the spiritual development of society. A work such as the story “Live and Remember” is a barrier to immoral acts. It’s good that we have writers like V. Rasputin. Their creativity will help people not to lose moral values.