Place all punctuation marks: indicate the number(s) in whose place(s) there should be a comma(s) in the sentence.

Shukshin in the story “A Mother’s Heart” takes the side of the main characters (1) and (2), although it is difficult and even impossible to challenge the broken law (3) in the work, maternalism comes first

love (4) which defies any written laws (5) and indestructible faith in man.

Explanation (see also Rule below).

Let's put punctuation marks.

(Shukshin in the story “A Mother’s Heart” takes the side of the main characters), (1) [ and, (2) (although it is difficult and even impossible to challenge the broken law), (3) in the work, maternal love comes first), (4 ) (which defies any written laws), (5) and indestructible faith in man].

4 sentences, all separated by commas

In a dangerous place at the junction of alliances AND ALTHOUGH a salary is needed, there is no second part “TO”

Answer: 12345.

Answer: 12345

Relevance: Current academic year

Rule: Task 20. Punctuation marks in sentences with different types of connections

TASK 20 Unified State Exam. PUNCTUATION MARKS IN SENTENCES WITH DIFFERENT TYPES OF CONNECTION

In task 20, students must be able to place punctuation marks in a complex sentence consisting of 3-5 simple ones.

This challenging task tests the graduate’s ability to apply the following knowledge in practice:

1) at the level of a simple sentence:

Understanding that there is no sentence without a basis;

Knowledge of the features of the basis of one-part sentences (impersonal, etc.)

Understanding that in a simple sentence there can be homogeneous predicates and subjects, punctuation marks between which are placed according to the rules of homogeneous members.

2) at the level of a complex sentence:

The ability to determine the main and subordinate clauses in the composition of the IPP on the issue;

The ability to see conjunctions (conjunctive words) in subordinate clauses;

The ability to see index words in the main

The ability to see homogeneous subordinate clauses, in which punctuation marks are placed in the same way as homogeneous clauses.

3) at the level of a complex sentence:

The ability to see parts of the BSC and separate them with a comma. There is no common minor term in this task.

4) at the level of the entire proposal as a whole:

The ability to see those places in a sentence in which two conjunctions meet: there may be two subordinating conjunctions or a coordinating and subordinating conjunction.

Let's collect all the basic punctuation rules that are important when completing the task and number them for convenience.

BP 6 If in a complex sentence there are coordinating and subordinating conjunctions nearby (And and ALTHOUGH, AND and HOW, AND and IF, BUT and WHEN, AND and THAT, etc.), then you need to find out if after the subordinate part there are correlative words THAT, SO or another coordinating conjunction (A, BUT, HOWEVER, etc.). A comma is placed only when these words are missing after the subordinate clause. For example: [The curtain rose] and, (as soon as the audience saw their favorite), [the theater shook with applause and enthusiastic screams] Compare: [The curtain rose] and (as soon as the public saw their favorite) So the theater trembled with applause and enthusiastic shouts]. and, (although her words were familiar to Saburov), [they suddenly made my heart ache]. [The woman talked and talked about her misfortunes], and (although her words were familiar to Saburov), But[they suddenly made my heart ache].

As you can see, rules 5 and 6 are very similar: we choose either to write TO (BUT...) or to put a comma.

Let's consider the proposals from the RESHUEGE database and the algorithm for working on the proposal.

[Claim](1) what? ( What Brazilian carnivals delight and fascinate)(2) And(3) (When(4) when? That convinced yourself (5) of what? ( how much the eyewitnesses were right).

1. Let's highlight the basics.

1- Affirm (one-part, predicate)

2- carnivals delight and fascinate

3- we saw

4- convinced yourself

5- eyewitnesses are right

2. We highlight conjunctions and correlative words. Please note that there are AND and WHEN nearby and that there is THAT.

3. We mark subordinate clauses: we put all sentences in which there are subordinating conjunctions in parentheses.

(What Brazilian carnivals delight and fascinate)

(When We saw its unique bright beauty for the first time)

(how much the eyewitnesses were right).

4. We establish which subordinate clauses belong to the main ones. To do this, we pose questions from the main ones to the supposed subordinate ones.

[They claim] what? ( What Brazilian carnivals delight and fascinate). 1 component found. Comma 1 is placed according to rule 4 [ = ], (which is = and =).

There are two subordinate clauses left and one without a subordinating conjunction. We check whether it is possible to ask questions from him.

[That convinced yourself] when? ( When We saw its unique bright beauty for the first time)

[convinced yourself] of what? ( how much the eyewitnesses were right). The second component has been found. Commas 4 and 5 are placed according to rule 4.

(when - =), [then- = ], (how much - =) Two different subordinate clauses to one main clause, a clause of time very often stands BEFORE the main clause.

Components 1 and 2 are connected by the coordinating conjunction AND into one complex sentence. This is comma 2.

Scheme: |[ = ], (what- = and =)|, and |(when - =), [then- = ], (as far as - =)|

It remains to find out whether a comma is needed 3. Between AND and WHEN, according to rule 6, a comma is not needed, since TO is located after the subordinate clause.

The Soviet writer, screenwriter and director dedicated a small work to this feeling, the depth of which can be revealed by artistic analysis. Shukshin created “Mother’s Heart” with the extraordinary skill of an artist capable of hearing even the subtlest strings of the human soul.

What is Shukshin's story about?

Where can you start your analysis? Shukshin began “A Mother’s Heart” with a sad story from the life of a simple village guy. His name was Vitka Borzenkov. It is worth starting to characterize the image of this hero by presenting a brief summary and artistic analysis. Shukshin called the mother's heart wise, not failing to note that it does not recognize any logic. What the author meant can be understood by reading the story.

Simple village guy

Vitka was going to get married, and therefore he needed money urgently. Then, in order to get funds for the wedding, he went to the city to sell lard. In the story, this hero does not play the main role. The image of Vitka’s mother is significant. However, the character of this woman is revealed precisely thanks to the story that happened to her son.

After Borzenkov realized what had happened, he became angry with everyone: with Rita, with the city and with the whole world. That’s why he spent his last ten rubles on drinks, after which he started a fight in which several people were injured. There was even a police officer among them. Vitka was sent to the bullpen, and his mother arrived in the city as soon as she learned about the trouble in which her beloved son found himself. The following describes the characteristics of the main character and an analysis of Shukshin’s story.

Mother's heart

Vitka’s mother became a widow early on and gave birth to five children, but only three survived. In the work, Shukshin portrayed a typical image of a Russian village woman. “A Mother’s Heart,” the analysis of which is, first of all, a characterization of the heroine, tells the story of a mother’s desire to free her son from prison no matter what. She is not interested in Vitka’s obvious guilt. She doesn't think about the people who ended up in the hospital because of him. She is guided only by what her love tells her. And this is the main idea that Shukshin introduced into the story. “A Mother’s Heart,” the analysis of which should be done based on the specific communication of a woman with law enforcement officers, is a story about extraordinary activity, strength, and perseverance.

In the police

When she arrived at the department, they were just discussing a recent incident. How did Shukshin depict a mother's heart? Analysis of the work allows us to conclude that this concept, although abstract, is applicable to the extraordinary power that only a woman can possess. Moreover, only the one whose child was in trouble. It does not matter how old this child is, whether he is a criminal or a decent person. When analyzing Shukshin’s story “A Mother’s Heart,” you should pay attention to the scene at the police station. Vitka’s mother came in, immediately fell to her knees and began to wail loudly.

At the prosecutor's

Police officers are people who are not prone to pity. But even they began to complain and advised the woman to visit the prosecutor. What idea did Vasily Shukshin devote to “A Mother’s Heart”? Analysis of the story suggests that this is a work about the difficult fate of women, which can only be helped by boundless love for children and blind hope for human sympathy and understanding.

The prosecutor showed firmness and was not imbued with the touching story about the kindness of Vitka, who “wouldn’t hurt a fly.” But this time the mother did not give up, and only concluded that this man was “offended for his own.” Having obtained permission to visit her son, she went back to the police.

Conversation with my son

On the way, Vitka’s mother thought about how she would go to regional organizations. All her life she hoped for help and understanding from people. She had nothing more to trust. She wiped away her tears and cried silently, but did not slow down. All her life Vitka Borzenkova’s mother did nothing but try to cope with her hero. The faith in good people who would help lived indestructibly in her soul.

She never once thought that her son had committed a crime, that there was a law that one could not turn a blind eye to. And when I saw him thinner and haggard, suddenly both the police and the ruthless prosecutor ceased to exist in the world. The mother realized how terrible a misfortune had befallen her son, and now knew for sure that only she could save him.

To regional authorities

Seeing his helplessness, she began to describe everything in rainbow colors. Both the police and the prosecutor allegedly advised her to go to the regional authorities. The mother told me and believed it herself that they were not at all against letting Vitka out, but they just didn’t have the rights. But there, in the regional center, there are people on whom everything depends. They won’t leave Vitya in trouble. At parting, the mother advised her son to pray, saying: “We will come in from all sides.” And then she left the cell and walked, again not seeing anything in front of her because of her tears. She had to hurry, and now she knew for sure that if necessary, she would go through all the authorities, but would rescue her son. She will go to regional organizations even on foot, if necessary, but Vitya will be released.

This is the summary of the story created by V. M. Shukshin. “A Mother’s Heart,” the analysis of which was presented in this article, is dedicated to all-consuming maternal love.

From the early stories of the early 60s. the image of the mother is revealed in the interior everyday lyrical sketch, permeated with autobiographical associations. In “Distant Winter Evenings” (1961), this is a depiction of the village life of the children Vanka and Natasha with their mother in conditions of war deprivation, and, according to the memoirs of N.M. Zinovieva (Shukshina), some of the everyday details depicted here, such as “cooking” "homemade dumplings have a real basis. In artistic terms, the figurative and symbolic antithesis of heat and cold, comfort and chaos becomes central to the story, which is associated with the comprehension of the harmonizing influence of the mother both on children's souls and on the picture of existence as a whole: “Her dear, cheerful voice immediately filled the entire hut; the emptiness and cold in the hut had disappeared... a bright life began.” The image of the mother is revealed in generous detail of both everyday objects (“the chirping of a sewing machine”) and speech. Her sympathetic, “thoughtful” words about the children’s father fighting at the front recreate the tragic historical background of the action, bringing together the individual and the epochal, the universal in a holistic spiritual and moral space: “It’s also difficult for our father there... They’re probably sitting in the snow, heartfelt... Even if only in winter “We didn’t fight.”

Deepening psychological analysis when creating images of mothers, Shukshin correlates with the artistic knowledge of the inescapable drama of their relationships with their sons, which becomes the main plot of the stories “The Chief Accountant’s Nephew”, “Suraz”, “Strong Man”, etc. In “The Chief Accountant’s Nephew” (1961) the mother’s personality appears in memories of a young hero who left home and was homesick in the city. Despite the fact that Vitka and his mother often “did not understand each other,” since the mother embodied a protective, domestic principle, and Vitka “liked a free life,” his perception of his mother turns out to be much broader than everyday, everyday relationships. In the details of her behavior and speech, he intuitively recognizes a high culture of related treatment with the domestic, natural universe: “He remembered how his mother talks to objects... with the rain... Mother Dearest... with the stove...”. As will be shown in the story “In Profile and Full Face” (1967), similar maternal spiritualization of near and distant space had considerable pedagogical potential and taught the hero a lesson in sonship. Before leaving, she forced her son to say goodbye to the stove, “every time... she reminded him how to say”: “Mother stove, how you watered and fed me, so bless me on the long journey.”

In “The Chief Accountant’s Nephew”, painful memories of his mother help the hero feel the presence of his mother’s hypostasis in nature, in the endless steppe: “Mother Steppe, please help me... It became easier because he asked Mother Steppe.” Through refined psychological detail, the work conveys the fragility and tenderness of mother-son relationships - in particular, the confusion and awkwardness of the mother when talking with her growing son about a possible second marriage. The dramatic position of “alone on stage” used in the finale allows us to highlight the antinomic spiritual world of the heroine from within, to convey her wise insight into the acutely dramatic rhythms of life: “I cried and didn’t understand why: was it from joy that my son was little by little becoming a man, or from grief that life, it seems, will pass like this...”

The drama of the mother’s relationship with her unlucky son, who has not taken root in life, is depicted even more clearly in the story “In Profile and Full Face”: both in the moving plasticity of the dialogues and in the bitter reproach of the mother’s generalization (“Why, son, are you only thinking about yourself?.. Why don’t you think about mothers?”), and in the son’s inappropriately direct speech, reminiscent of a psychological reference to an intense “dramatic” action: “They are persistent, mothers. And helpless." This antinomy of the mother’s strength, greatness – and her vulnerability, helplessness captured in the “gestural” detail of the final episode of parting with her son: “Thoughtlessly, or even thoughtfully, she looked in the direction where her son would go... her head shook on his chest... she crossed him.” The leitmotif of this episode (“And the mother still stood... Watched after him”) slows down the rhythm of the narrative, presenting momentary collisions against the backdrop of unfading value guidelines.

Creative attempt depict the mother's personality in evolution, in the prism of her experiences, to highlight the complex mental makeup of the central character, filled with painful contradictions, was carried out in the story “Suraz” (1969). The external actions of the still young mother, who “mercilessly flogged” her son for his school pranks, and then “teared out her hair and howled over her son all night,” receive a deep psychological motivation: “She adopted Spirka from a “passing fellow” and painfully loved and hated him Well done." Echoes of this feminine, maternal drama will be revealed in the plot dynamics of the story in the destructive attitude of Spirka Rastorguev himself. In his mature years, the hero’s mother becomes the embodiment of a stable, domestic principle (“she regretted, was ashamed that he would never start a family”). Her judgment on him - loving and merciful - awakens secret strings in the hero’s soul, appearing both in external behavior and in the innermost work of the heart: “I found my mother’s head in the dark, stroked her thin warm hair. He used to caress his mother while drunk." Spiridon’s involuntary return to inner prayer, thoughts about his mother, about her suffering for him becomes the leitmotif of the entire story and reveals the invisible force of counteraction to the general tragic logic of fate: “that’s who it hurts to leave in this life - the mother,” “everyone wanted to get rid of the thought of his mother ", "his mother came to mind, and he ran to get away from this thought - about his mother." These internal tossings gradually determine the story of the hero’s complex relationship with the element of femininity that beckons him - from painful lust for a married teacher to the true heroism of the selfless rescue of the mother of two young children who was dying of hunger.

In the system of moral and philosophical coordinates of Shukshin’s story, the mother’s personality becomes the embodiment of the protective principle, while the fate of the central character is sometimes revealed in the prism of her perception and assessments, which constitutes the most important perspective in depicting the picture of the world.

In one of the key episodes of the story “A Strong Man” (1969), the mother of the foreman Shurygin, who destroyed a village church, takes a stern position, not at all condescending, in contrast to the plot situation of the story “Suraz”, a moral judgment over her son who has fallen into spiritual unconsciousness. In her bright speech self-expression one can see, not trampled by any externally coming circumstances. depths of popular religious consciousness. An enlightening vision of the church as a home (“it added strength”), rooted in a centuries-old tradition, is combined in the mother’s speeches with the apocalyptic notes of a menacing prophecy to her son about the Supreme retribution for the sin committed: “Either he died at home overnight, or somewhere he’ll be pressed by the forest by chance.” .

Prophetic potential of the mother's word is also found in the story “Fingerless” (1972), where the contours of the hero’s brewing family drama are indicated through the sympathetic gaze of the mother. In what seemed like a passing episode of her outwardly purely everyday confrontation with her daughter-in-law, a wise mother’s word about the arrangement of marital relations sounds, containing an involuntary foresight (“It’s not forever that you decided to live with your husband”). And in the story “Vanka Teplyashin” (1972), in the acute conflict drama of the “hospital” episode, the “ridiculous” incident, the antinomy of the mother’s everyday insecurity - and her hidden wisdom - is artistically comprehended. At the level of the compositional organization of the narrative, this antinomy is revealed in the contrasting superposition of two points of view on the world - the son and the mother. In Vanka Teplyashin’s lively, loving, filial perception, succinctly reflected in the author’s “remark” (“so she cried out freely, human joy”), psychological touches are sketched out to the original portrait of the mother: “She makes her way across the street, looks back - she’s afraid...”. In the key conflict episode with the hospital guard, the individualized features of this portrait acquire an expansive, archetypal meaning; the painful inertia of the age-old social humiliation of a simple Russian woman: in the image of a begging, “begging” mother, in the rendering of her “rehearsed pitiful, habitually pitiful” voice, in the “gestural” detailing of her behavior: “The mother was sitting on a bench... and wiping away her tears with a shawl.” In the final dialogue, the mother’s word, imbued with a “bitter thought” about her son, reveals the height of a keen-sighted generalization about the hero’s life drama, the dead ends of his maximalist worldview and disorder (“You, son, somehow cannot gain a foothold”). The laconic remark commenting on this conversation (“You can never talk to a mother”) marks the intersection of the views of the hero and the narrator, in the situational context it reveals the presence of the eternal and grows to the level of aphoristically expressed worldly wisdom.

It turns out to be very characteristic of Shukshin’s later stories saturation of sometimes sketchy episodes related to mothers with the potential of existential, social generalizations. Thus, in the story “Borya” (1973), the tense anticipation of the mother’s arrival by the hero staying in the hospital ward illuminates the hidden layers of his mental life, and the narrator’s observations of him crystallize into a philosophical reflection on the hierarchy of moral values, on the greatness of ordinary pity for a person, the quintessence of which is maternal love, compassionate in nature: “Mother is the most respected thing in life, the dearest thing - everything consists of pity. She loves her child, respects him, is jealous, wants the best for him - a lot of things, but invariably, all her life, she regrets.” The ethically oriented author’s thought is addressed to the natural mystery of the mother’s very personality, which in an incomprehensible way contributes to the harmonization of the world: “Leave everything to her, and take away pity, and life in three weeks will turn into a worldwide mess.” A symptomatic manifestation of such harmonization is snatched from the flow of everyday life in the story “Friends of Games and Fun” (1974). Here, a unique image in Shukshin’s characterology arises of the still very young mother Alevtina, who, under the influence of an accomplished event, experiences a deep, not yet realized for her, change, transformation of her inner being. The maternal hypostasis as a sign of spiritual superiority, a gift sent down from above, comes into sharp contrast in the rapid event dynamics of the story with the behavior of fussing, sorting out the relationship of relatives: “As soon as she became a mother, she immediately became wiser, became bolder, often played around with her Anton and laughed.” .

Over the years, special stories appear in the writer’s prose - portraits of mothers, where the ways of artistic embodiment of the central image turn out to be very diverse and can be based on use of folk archetypes, on the heroine's fabulous self-disclosure, on objective author's narration.

From a centuries-old folklore tradition emerges the image of a mother suffering for her son in the story “On Sunday, an old mother…” (1967). Its leitmotif is the heartfelt performance by the blind folk singer Ganya of a song about an “old mother” who brought “a parcel ... to her own son” to prison. This song, popular during the war years, becomes a significant communicative event, because in the imagination of the “storyteller” himself and the listeners, the details of the picture were drawn when “the old mother was seen approaching the gates of the prison.” Direct verbal self-expression of the mother, containing generalization of people's experience(“And then people say...”), conceals her deep, already comprehended at the supra-verbal level, experience, which forms the semantic culmination of Ganina’s song:

The old mother turned around,

From the prison gates I went...

And no one knows about it -

What did I carry in my soul?

It is noteworthy that the imagery of this story is connected with Shukshin’s direct communication with his mother, who sent her son the words of this song, which he remembered only from the motive of the song. The story “Mother’s Dreams” (1973; original title “Dreams of My Mother”) is permeated with similar autobiography, where in the fairy-tale form of the mother’s narrative (“she told them more than once”), in a living dialogical fabric, with the characteristic features of the folk dialect, edges are drawn her personality, hidden spiritual quests are revealed.

These five dreams are indeed united by the theme of the “other world,” but it would be inaccurate to interpret them solely in the light of the experience of “superstitious fear” of the mysteries of existence. Behind attempts to look into the mysterious, sometimes frightening letters of fate, dissolved in everyday realities - as, for example, in an exposition dream or in a prophecy about the death of a husband - appear unclouded sources of popular faith, insight into the supramaterial dimension of God's world. It is the Christian consciousness that dictates here the perception of “two boys in cassocks” who appeared in a dream, conveying a call for the heroine’s sister not to cry excessively for her dead daughters; and the desire to fulfill the order of the deceased “Avdotya girls” to help the poor. A humble awareness of her own imperfection comes to the heroine in a dream meeting with a friend who passed away early, where in spiritual insight various levels of the afterlife are revealed before the earthly gaze.

The actualization of the transnational dream dimension when comprehending the depths of the mother’s soul also occurs in the expositional part of the story “Letter” (1970), where the old woman Kandaurova acutely senses the spiritual insufficiency of human existence outside of Communion with God (“Where is my God?”). As in “Mother's Dreams,” here there is a direct, fabulous self-disclosure of the mother in her letter to her daughter, son-in-law and grandchildren. The power of a mother’s insight, which allows her to intuitively recreate specific episodes of her daughter’s not entirely prosperous family life, reveals the “dramatic” potential of live action in the seemingly monological form of writing. The famous “all-encompassing dialogic nature of Shukshin’s story” is expressed here in a multidirectional, emotionally flexible, wise mother's word. These are confessional projections on our own childhood experience (“We also once grew up with our fathers and mothers, we also used to not listen to their advice, and then we regretted it, but it was too late”), and memories of our unhappy marriage, and enlightening humor in an address to his son-in-law: “If you come again so thoughtful, I’ll hit you on the head with a slotted spoon, your thoughts will be rearranged.” In the heroine’s worldview, there is an antinomic interweaving of a joyful and solemn vision of life (“Lord, the old woman thought, good, good on earth, good”) - and the self-ironic mode contained in the final psychological touch, opposite to naive enthusiasm: “Old! - she said to herself. “Look, she’s just about to live!.. You’ve seen her!” .

The story “In the Cemetery” (1972) is also built on the portrait principle. The psychologically detailed conversation between the narrator and the old woman at her son’s grave reveals the contact between the transient and the transtemporal, which initially stems from the mother’s mystical perception of her son’s burial place as a hidden, reserved space that does not tolerate the presence of someone else. The heroine’s thoughts about the Highest Destiny, accomplished in an untimely loss (“it’s not up to us to decide, that’s the problem”), exacting moral assessments of present life serve as a compositional frame for the “story within a story” coming from her lips, which forms the semantic core of the work. Through speech and gestures, it is conveyed here how, in place of the old woman’s usual oppression by “constant” grief, at the moment of storytelling, a completely different, spiritualized, clarified perception of the world emerges (“looking at me with clear, washed eyes”). Her legendary story about the miraculous meeting of a soldier with a woman crying in a cemetery depicts a sacred embodiment of sacrificial motherhood, free from everyday stratifications, first revealed by the Mother of God herself: “I am the earthly mother of God and I cry for your unlucky life.” This interpenetration of the miraculous and the ordinary (the soldier has “an image of the Mother of God on his tunic”) is sensitively felt by the narrator himself, and therefore his impulse to “take off his jacket and see if there is something there” becomes noteworthy. This “inserted” story highlights in the work the features of the hagiographical genre, which are focused on “the righteous image of the mother, actualizing the Mother of God’s features, associated with the function of protection and intercession, filled with pity and mercy for her children.”

Artistic comprehension of the depths of maternal consciousness in the prism objective author's narration carried out in the story “A Mother’s Heart” (1969). The action-packed story with Vitka Borzenkov is reproduced here in abrupt dotted lines, only as a compositionally necessary overture to the central theme - mother's heart. From the moment this theme is introduced in the story, the narrative rhythm and the flow of artistic time noticeably slow down, and the author’s word is thoroughly “saturated” with the mother’s worldview: “Vitkina’s mother learned about misfortune the next day..."

They appear multidimensional in the story speech means of revealing the inner world of the mother. A brief backstory, to a large extent typical of its time (“gave birth to five children, her husband died at the front”) is replaced by vivid verbal self-expressions of the mother, who is never mentioned by name, but appears in her original, highest natural quality. In her direct appeals, rich in the color of the folk word (“saint priests”, “you are my Lord’s andel”, “you are my dear sons”, “have mercy on him”, “you are my andel, good people”), a desperate attempt is made to affirm the priority of general humanistic, Christian principles over other forms of regulation of human life: “May you somehow deal with your offense - forgive him, the accursed one.” The artistic “nerve” of Shukshin’s narrative becomes how in the sphere of the heroine’s inappropriately direct speech, where faith and heartfelt understanding are preferred to rational knowledge (« Understood that this long one is hostile to her son," Understood, that this one also disliked her son") the mother’s word is sympathetically picked up and at the same time objectified, gradually corrected by the narrator’s word. The moral message initial for the narrator (“A mother’s heart, it is wise”) does not prevent him from again and again subjecting the heroine’s spiritual aspirations to analytical comprehension, skillfully - with the help of repetitions, inversions - while maintaining the tensely excited sound of her voice: “She will rescue her son , she believed into this, believed. All her life she did nothing but cope with grief... It’s strange, the mother never thought about her son - that he had committed a crime, she knew one thing: a big misfortune had happened to her son.” A similar meaningful intersection of the mother’s faith with the narrator’s thoughts occurs in the final remark, imparting artistic unity to the speech fabric of the story: “Nothing, good people will help.” She believed, will help."

Compositionally, the story is “edited” from “dramatically” intense scenes, where a powerful psychological subtext is hidden behind the external speech behavior of the characters. Among them, the episode at the police station, the mother’s conversation with the prosecutor, and especially her meeting with her imprisoned son, outlined in its original meaning, repeated over the centuries, which consisted in the fact that “her child was sitting next to her, guilty, helpless,” stand out. The creative energy of the mother’s attitude to speech, perceived as a weapon of protest against despair, is striking - especially in connection with her optimistic “reinterpretation” of the obviously disappointing words of the prosecutor. The mother’s simmering experience of folk faith, expressed in her son’s sincere call to prayer, is somewhat undermined, however, by manifestations of momentary pragmatism (“We will come in from all sides”), the depiction of which contributes to the objectivity of the author’s artistic knowledge of characters and circumstances.

So, images of mothers, and more broadly, the theme of motherhood, constitute one of the significant problematic and thematic levels of Shukshin’s artistic world. Creating a gallery of these images for more than ten years, the writer started from autobiographical memories and, checking them, moved towards large-scale generalizations of social experience, to the embodiment of moral, ontological intuitions. Images of mothers are captured in Shukshin’s stories both in portrait-monographic terms and in the “drama” of tense, conflictual relationships with other characters, social circumstances, and existential patterns. Reliance on archetypal ideas about motherhood dating back to ancient culture was organically combined by Shukshin with the development of original narrative strategies, visual and expressive means of creating images of mothers - in the unity of the historically specific and eternal. If you somehow with your offense - forgive the general humanistic, Christian principles over other forms of regulation of the ment of storytelling put forward a completely different, spiritualized, clarified perception of the world ("place of habitual material" name " " which, at the request of her son, sent him the words of this song, remembered only by the motive of the song. Similar avni are very diverse and can be based on the use of folklore unique in Shukshin’s characterology is the image of the still very young mother Alevtina, who is experiencing under the influence

Literature

1. Shukshin V.M. Collected works: In 3 volumes. T.2. Stories from 1960 – 1971 / Comp. L. Fedoseeva-Shukshina; Comment. L. Anninsky, L. Fedoseeva-Shukshina. M., Mol. Guard, 1985.

2. Shukshin V.M. Collected works: In 3 volumes. T.3. Stories from 1972 - 1974. Stories. Journalism / Comp. L. Fedoseeva-Shukshina; Comment. L. Anninsky, L. Fedoseeva-Shukshina. M., Mol. Guard, 1985.

3. Shukshin V.M. I hope and believe: Stories. Film story "Kalina Krasnaya". Letters. Memories. M., Sunday, 1999.

4. Bobrovskaya I.V. Hagiographic tradition in the works of V.M. Shukshin. Author's abstract. dis... cand. Philol. Sci. Barnaul, 2004.

5. Glushakov P.S. About some “superstitious motives” in the works of Vasily Shukshin // Shukshin Readings. The Shukshin phenomenon in literature and art of the second half of the twentieth century. Sat. mater. museum scientific and practical conf. October 1 – 4, 2003. Barnaul, 2004. P.61 – 66.

6. Leiderman N.L., Lipovetsky M.N. Vasily Shukshin // Leiderman N.L., Lipovetsky M.N. Modern Russian literature: In 3 books. Book 2: The Seventies (1968 – 1986): Study. allowance. M., Editorial URSS, 2001. P.57 – 66.

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Extracurricular reading lesson in 7th grade

The image of the mother in the stories of V.M. Shukshin

Gamira Zyalyaeva, teacher of Russian language and literature of the first qualification category Kamskopolyanskaya secondary school "1

Goals:

Arouse interest in the work of V.M. Shukshin;

Develop students’ speech and creative abilities;

Develop skills and abilities to analyze artistic text analysis.

Equipment: portrait of V.M. Shukshina, presentation.

Leading task:

The 1st group is preparing material about the mother of V.M. Shukshin;

Group 2 reads and analyzes the story “Mother’s Dreams”

Questions for text analysis:

What is the main theme of the story?

Why is the story called "Mother's Dreams"?

What artistic details reveal the moral qualities of Maria Sergeevna: kindness, justice?

Group 3 reads and analyzes the story “Snake Venom”

Questions for text analysis:

How is the hero's character revealed when he learns about his mother's illness?

How guilty did he feel towards his mother?

What artistic details of the story reveal the moral atmosphere of society: rudeness, disrespect for people, gratitude?

Group 4 reads and analyzes the story “Distant Winter Evenings”

Questions for text analysis:

What is the main idea of ​​the story?

What artistic details show that the work is about war?

Literary theory: theme, idea, artistic detail.

Teacher's opening speech.

In the mid-70s, the village of Srostki in Altai became widely known in our country and abroad. V. M. Shukshin was born and lived here. The surroundings of the village are picturesque: a hilly plain with birch groves, the beautiful Katun with numerous islands and channels, Mount Piket, known to thousands of Russians. At the foot of Picket, on a hillock, stands in full view of the entire village the House-Museum of V.M. Shukshin’s mother. Vasily Makarovich bought this house for his mother in 1965 with a large fee received for the novel “The Lyubavins”.

V.M. Shukshin loved this house. And when he came to his mother, he could not get enough of it and breathe in that fullness of will and peace of mind that a person can only experience in his native land, in his mother’s house.

The topic of our lesson is “The image of the mother in the stories of V.M. Shukshin.”

Theories of literature. Subject. Idea. Artistic detail.

1st group.

Shukshina's mother Maria Sergeevna meant a lot to her son. He loved her with grateful, filial love, and was proud of her. As a young woman, left alone with young children, she raised Vasily and Natasha on their feet, raised them, taught them peasant work, and gave them an education.

Group 2 analyzes the story “Mother’s Dreams.”

1st group.

Natalya Makarovna Zinovieva, V. Shukshin’s sister, said: “One day my mother got sick and had sciatica. She was completely paralyzed and could not bend or straighten her back. She wrote a letter to Vasya about her illness. Indeed, Vasya spent a long time and persistently searching for the snake venom that the doctor recommended to her. This medicine was in short supply at that time. In despair, fearing that he would not find this poison, Vasily sent a telegram: “I received the letter, I am looking for a cure.” Mom was then worried that she had written the letter. Now, he says, he runs around half of Moscow. But soon she received a parcel containing snake venom. This story became the plot for writing the story “Snake Venom”.

The 3rd group analyzes the story “Snake Row”.

During difficult war times, life with two children was very difficult for Maria Sergeevna. Mother embroidered, sewed, weaved for people and herself, in a word, she earned something for potatoes, flour, and cereals. Winters then were cold and snowy. Nothing saved us from the cold: neither blankets on the windows, nor rags on the threshold by the door. The only savior was the Russian stove, which had to be heated with something. Maria Sergeevna and Vasya went for a birch tree to Talitsky Island (this is about three kilometers along the frozen Katun late in the evening).

The story “Distant Winter Evenings” tells about these childhood years of Vasily Makarovich.

Group 4 analyzes the story “Distant Winter Evenings”

1st group. Maria Sergeevna was grieving the death of her beloved son, her grief was great and persistent. The mother still sent letters to her son, now to his grave.

“...My child, child, forgive me: I drowned you with my bitter tears. I can’t forget myself for a single minute. If I had wings, I would fly to your grave every day. It would be easier for me... You are my beloved son, blessed memory to you, you are my unfortunate caress.”

Maria Sergeevna died on January 17, 1979, having outlived her son by four years. She was buried in Srostki, in the rural cemetery.

Lesson summary.

What is the overall impression of the stories?

Which one did you find more interesting?

Why?

Assessment of students' knowledge.

Homework: write a review in groups

Shukshin is the soul of Altai
A.B.Karlin
Look at our mother... This is people with a capital “P”.
V.M.Shukshin

2014 in Altai has been declared the year of Vasily Makarovich Shukshin. After reading his stories, I was amazed at how Shukshin wrote: openly, understandably, accessible. He did not have to look for material for creativity. V.M. Shukshin wrote about ordinary people, about village life. He himself is an amazing person. He lived only 45 years. But during this time he did so much that would be enough for another person for the rest of his life. Shukshin was a writer, a director, and an artist.
His characters think about their lives: “Why all this?” And they make us, the readers, think. It highlights what we don't notice. Shukshin's stories raise questions about the meaning of life, about good and evil.
I was especially touched by the theme of the mother in Shukshin’s work. Probably every writer at least once in his life wrote about his loved ones, especially his mother. V.M. was no exception. Shukshin. Stories such as “Distant Winter Evenings”, “A Mother’s Heart”, “On Sunday an Old Mother…”, “At the Cemetery”, etc. tell about the relationship of mothers and their children to each other.
For example, in the work “Distant Winter Evenings,” the image of a mother is shown caring for children. Throughout the entire story, the writer shows the attitude of the children Vanka and little Tali towards their mother. When mom returns from work, a holiday appears in the house. And the mother, although very tired, in endless worries, wants to “tell them something kind, good.” It’s as if the “smell of kindness” emanates from my mother. She herself also rests her soul with her children.

In the story “On Sunday, Mother is an Old Lady...” the mother is sung only in the song, but Vasily Makarovich was able to write in such a way that this short image affects the entire story. The mother came to see her own son in prison, brought a package, but found out that last night he was shot:

“Your son is not here.
Was shot last night
and sent to the next world.
The old mother turned around,
From the prison gates I went...
And no one knows about it -
What did I carry in my soul?

And the story “A Mother’s Heart”! A mother is capable of anything to save her child. “A mother’s heart is wise, but where trouble looms for her own child, the mother is not able to perceive outside intelligence, and logic has nothing to do with it.” For a mother, a son is the meaning of her life. “Vitka’s mother was exhausted, she sold everything, she was left poor, but she left her son - he grew up strong, well-behaved, kind... Everything would be fine, but when he’s drunk, he becomes a fool.” Shukshin shows the experiences that Vitka’s mother experienced. Only a mother can worry like that.

And I believe that Shukshin was able to talk about this feeling so vividly because he himself loved his mother very much. Maria Sergeevna herself spoke about herself like this: “All my life I worked hard just to bring the children to their senses. Sometimes my sisters condemned me for this. And every day I wanted to come to the children as soon as possible, tell them something kind, good.” Maria Sergeevna supported my son in everything.
And her son repaid her with great love. What kind letters he wrote to her: “I sleep and see, mom, how you and I live together.” “Darling, my soul yearns for you, Mommy, how is your health, dear?”

According to Shukshin himself, his mother taught him much of what he wrote about. This is love, care, affection and understanding.
I believe, no matter how many years pass, Shukshin’s stories, and especially on the theme of his mother, will find responses in the hearts of people.

Getmanova Yulia, 8th grade (2014)
Competition "Golden Feather"