In Shukshin's story "The Freak", which we will analyze, the conflict between the city and the village is presented, as in many other stories of this author. In essence, the internal conflict of the village world is revealed here: all three characters of the story (Chudik himself, whose real name the reader learns only at the end - Vasily Egorovich Knyazev, his brother Dmitry and wife Sofya Ivanovna) come from the village.
The plot of Shukshin's story "Freak" is found many times in literature and folklore: these are the unsuccessful adventures of a village eccentric in the city. All comic situations and misunderstandings are due to his ignorance of the standards, conventions, and orders of city life. But it is he who turns out to be the bearer of true ideas about the values of life, which are not understood and rejected by the evil presumptuous city. Most often in works with a similar plot, the bearer of true ideas about the values of life, the bearer of the true mind is a village person. Shukshin is close to the same interpretation.
The most serious conflict awaits Chudik in the house of his brother Dmitry. It is due to the unmotivated, as it seems to him, hatred of the daughter-in-law, Sofia Ivanovna, to which neither Chudik himself nor his brother Dmitry can oppose anything.
The reason for the rejection is, according to Dmitry, that Chudik is “not responsible, not a leader. I know her, stupid. Obsessed with their responsible. And who is she! Barmaid in control, bump out of the blue. She looks at it and starts ... She hates me too - that I'm not responsible, from the village. These words clarify the cause of the conflict between the brothers and Sofya Ivanovna: from her point of view, the measure of success in life becomes a leading position in the administration, the name of which Dmitry cannot remember. This is what pushes the brothers, forced out by Sofya Ivanovna into the street, to try to identify the origins of the confrontation that has emerged and compare the rural and urban ways of life.
The culmination of the conflict in Shukshin's story "The Freak" is just the attempt of the Freak to repay it - to somehow appease the daughter-in-law, an attempt, as always, is completely ridiculous. He decided to paint with children's paints, probably watercolors, the carriage of his youngest nephew. This leads to a new outburst of anger on the part of Sofya Ivanovna, this time, I think, quite justified: it is unlikely that Chudik’s drawings could decorate the stroller (“On the top of the stroller, Chudik sent cranes - a flock in a corner, along the bottom - different flowers, grass-ant, a couple roosters, chickens...”), quite appropriate, for example, on a stove, but not on a standard factory-made item that has a fundamentally different aesthetic nature, which the hero is not at all aware of: “And you say - a village. Eccentric. He wanted peace with his daughter-in-law. “The child will be like in a basket.” However, the daughter-in-law of “folk art”, as Chudik comprehends his deeds, did not understand, which led to the speedy resolution of the conflict - the Chudik’s expulsion with the helpless bitter silence of his brother Dmitry, who, apparently, does not have the right to vote in his own house.
What is the meaning of Sofya Ivanovna's dissatisfaction with her husband's brother? Yes, in the fact that she has lost the ability to appreciate a person who is in the traditional system of values, living in the countryside, satisfied with this life, unwilling to accept urban standards due to the fact that he is satisfied with his own - as he understands them. He does not aspire to be “responsible”, he is satisfied with the work of the village projectionist, he is at peace with himself, with the rural world that gave birth to and raised him, and therefore causes Sofia Ivanovna not just indifference, but active rejection, irritation. Why?
Shukshin, thinking about what happens if a person leaves for a city (even worse - to an urban-type settlement), came to the most disappointing conclusions, believing that the village loses its mistress of the house, mother, wife, and the city acquires another boorish saleswoman. This is exactly what we see in the image of Chudik's daughter-in-law, Sofia Ivanovna, in the past a village girl, in the present - a barmaid in a certain department. The point, probably, is that she just lost those qualities that Chudik did not lose: harmony with the village, satisfaction with her world, harmony with herself. Leaving the countryside and rejecting its moral values, not satisfied with the criteria for success in life that the rural world offers, she rushed to the city, perceiving the "department" in which she works as a barmaid, "responsible" in this department as people who have achieved the highest success in life, realized their life potential. Any other scenario of the life path - whether Chudikov, Dmitry's husband - is interpreted by her as a loss, failure, a manifestation of human insolvency. Therefore, those charms of village life that the brothers think about are perceived by her as a pitiful attempt to justify their own inadequacy to themselves and cause a sharp rejection, almost hatred in relation to the "losers" who have almost suffered a collapse in life - their own husband and his village brother. But the bottom line is that Sofya Ivanovna herself is failing: having abandoned the old values, such a person does not acquire new ones, but does not realize this, believing that “responsible” work in “management” is the highest goal of a person’s life path. This is the very moral vacuum in which the village man finds himself, having lost touch with his world and not gaining new social ties.
If Dmitry’s life can really be perceived as a failure (“Here it is, my life! Have you seen it? How much anger is in a person! .. How much anger!” He complains about his wife to his brother), then this cannot be said about Chudik. Despite the difficult relationship already with his own wife, who from time to time explains to her husband his insignificance with the help of a skimmer, which hits him on the head, the hero is in complete inner harmony with the world of the village that gave birth to him, with the world in which he lives and will live . Show this by referring to the episode of the return of the Freak after his unsuccessful city trip to his village. Why is it at this moment that the hero ceases to be a "freak" and finds his true name?
The confrontation between the city and the countryside is most often given in Shukshin's stories from the point of view of a village dweller - it is he who carries hidden aggression against the city. The townspeople (those for whom the culture of the city is natural, native), on the contrary, are peaceful, most often described either neutrally or with sympathy, as the “candidates” of the Zhuravlevs. Sometimes the opposition of the village to the city is reflected in the desire of the villager to assert his significance, his wealth and superiority over the city dweller, as in the story "Cut off", sometimes - in hatred for a fellow villager who has lost his former roots and has not found new ones, as in "The Freak", sometimes - in the desire to surprise the townspeople with something incredible, impossible, exceptional, as in the story "Mil pardon, madam!". All these attempts, however, turn out to be completely absurd and reveal only one thing: the peasant’s discord with himself and the world of the village, dissatisfaction with his own life, an indistinct desire for something exceptional, which is based on the destruction of the village, tragic for the national fate, as one of the forms of social life and national existence. Shukshin captures a tragic stage in the development of Russian destiny: in the middle of the 20th century, the rural world lost harmony with itself and ceased to satisfy the person who grew up and was brought up in it. At the same time, new ideals, surrogates for city life, of course, could not fill the cultural and moral vacuum formed as a result of the peasant leaving the countryside. This concludes the analysis of Shukshin's story "Freak".
Kobysko Yu.A.,
teacher of Russian language and literature
MAOU secondary school No. 4 of Kurganinsk
Analysis of the image of the hero of stories V. Shukshin
(on the example of the story "Freak")
He was called "the last genius of Russian literature", deeply respected for his talent and admired for his creativity. Coming from a family of "middle peasants", who would have thought that he would become someone who would not be destined to adopt the fate of his ancestors? For, being a person endowed with the gift of writing, with a sensitive organization of the soul, which can catch the subtleties of the diversity of human characters, he will describe them, tell the world about them, and later shoot, play and show characters in which the reader, the viewer recognizes himself, a neighbor , familiar.
Vasily Shukshin wrote about what he knew so well: about ordinary workers with peculiar characters, about the Soviet countryside, about observant and sharp-tongued people. His characters are often eccentrics, but eccentrics with a moral understanding of reality, with a sense of involvement in what is happening. In Shukshin's stories, deep moral problems and spiritual values come to the fore.
Yuri Seleznev will speak about Viktor Astafiev, Viktor Likhonosov, Vasily Shukshin and other prose writers of the 60s who caused heated discussions in the literary community. He will pay special attention to the writers who belonged to the "village prose", which from time to time was called either "Vologda", or "lyrical": “By its nature, all true culture remains and will remain “earthen” and, in this sense, “village”. It cannot be otherwise, as long as the person himself remains a person.. Seleznev calls the works of "villagers" "the best part of modern literature." Speaking about their work, Yuri Ivanovich refers to the works of Russian classics, Tolstoy, Dostoevsky, to the moral side of art.
The hero, who stands at the center of the works of representatives of the considered direction, is the bearer of the Russian character, and in Vasily Shukshin he, the eccentric hero, is the basis of the Russian national mentality. It is they, eccentrics, or "cranks", who stand behind the fundamental foundations of Russian life, the self-consciousness of the nation. Let us recall the story of the same name “The Freak”, the hero of which is an eccentric village peasant: good-natured, open and simple, who, either from the “great mind”, or from unfortunate circumstances, or because of his village simplicity, becomes the hero of anecdotal situations. Vasily Makarovich immediately says about his hero: “The wife called him – Freak. Sometimes kindly. The weirdo had one feature: something constantly happened to him, ”- which sets the reader up for a dialogue, for some kind of involvement in all the cases that happened with the thirty-nine-year-old rural mechanic Vasily Egorovich Knyazev. However, for all the comic nature of everyday situations in which the protagonist finds himself, the reader cannot succumb to the grin, ridicule, and condemnation of the “freaky”. Vulnerable, sensitive, impressionable, for all his absurdity and absurdity, he, the "freak", is a positive hero, sensitive to kindness, able to subtly feel and perceive the world around him.
The protagonist, a village peasant who "was afraid of hooligans and sellers," is opposed to city residents. The author compares the sincere joy of the hero, who found the jaw of his neighbor that fell out during the landing of the plane, and the indignation, anger of the man who was helped; describes the hostility towards Vasily Yegorovich of the daughter-in-law, who is trying to erase her once rural past from her memories and striving to become a real city dweller. These characters in the story are opposed to Knyazev, a man who is considered to be strange. But what is his "eccentricity"? In worries about a lost banknote? Helping your neighbor? In pursuit of beauty? Or maybe the main character of the story is not a weirdo at all? Maybe the people around him are not able to understand his spiritual warmth?
It seems that a rural projectionist is a person capable of uniting with the earth. That's why it seems to everyone around him wonderful s m, because they lost this connection: “The freak got off the bus, took off his new shoes and ran across the warm wet ground - a suitcase in one hand, shoes in the other. He jumped up and sang loudly: Poplars-a, poplars-a ... ".
The opposition of the village and the city is typical for the stories of Vasily Shukshin. Here the writer denounces all that viciousness, biliousness that appeared in the once village peasants and their wives, who have now become “intelligent” and swaggering. In the simplicity, sometimes awkward directness of the Russian peasant, a sense of connection with the world, of being part of it, is manifested.
The language of Shukshin's stories is always simple, replete with vernacular, interjections, a feeling of a "live" dialogue is created, a contrast is shown, a significant difference in communication between the inhabitants of the city and the village.
Speaking about the creative heritage of representatives of the "village prose" in general, Yuri Seleznev writes: “If modern literature continues to see in the people the ideal of beauty, truth, goodness, then, therefore, thereby affirms the validity of its historical movement into the future”. Vasily Shukshin sees this “ideal of beauty, truth, goodness” in a village peasant. He (a man), the hero of stories, does not perform heroic deeds, does not shine with intelligence and does not philosophize about the meaning of being, he lives in the same way as all God's creatures, only he does not lose touch with the earth, with roots, is closely connected with nature, feels himself an integral part of this world, sows good, takes care of his neighbor.
Returning to the story "Freak", I want to remember the way a person grew up. Day by day the child discovers something new, bright. A pure "being", trying to know the environment, takes the first steps, learns and learns to distinguish between "bad" and "good". A child, in contact with indignation, anger and rudeness, does not harbor resentment, he is interested, and he tries, sincerely admires and rejoices, or is in a bitter upset. There are no halftones. The same, clean and bright, draws his hero and Shukshin. He also, through sensual awareness of the world, wants to touch everything new, previously unexplored: “He only suddenly felt the most stupid desire to fall into them, into the clouds, as if into cotton wool.”
Literature:
1. Seleznev Yu. Thought feeling and alive. – M.: Sovremennik, 1982.
In the 1960s, when the first works of the writer appeared in literary periodicals, the critics hastened to rank him among the group of writers-"villagers". There were reasons for this: Shukshin really preferred to write about the village, the first collection of his stories was called “Village Residents”. However, the ethnographic signs of rural life, the appearance of the people of the village, landscape sketches did not particularly interest the writer - if all this was discussed in the stories, then only in passing, fluently, in passing. There was almost no poeticization of nature in them, authorial thoughtful digressions, admiring the "mode" of folk life - all that readers are used to finding in the works of V.I. Belov, V.P. Astafiev, V.G. Rasputin, E.I. Nosov.
The writer focused on something else: his stories were a string of life episodes, dramatized scenes that outwardly resembled early Chekhov's stories with their ease, brevity ("shorter than a sparrow's nose"), the element of good-natured laughter. The characters of Shukshin were the inhabitants of the rural periphery, the ignoble, who did not break out "into the people" - in a word, those who outwardly, in their position, fully corresponded to the type of "little man" familiar from the literature of the 19th century.
However, each character in the image of Shukshin had his own “zest”, resisted averaging, showed a special way of existence, or turned out to be obsessed with one or another unusual idea. Here is how the critic Igor Dedkov later wrote about this: “Human diversity, the living richness of being, is expressed for V. Shukshin, first of all, in the variety of ways to live, ways to feel, ways to defend your dignity and your rights. The uniqueness of the answer, the uniqueness of a person's reaction to the call and the challenge of circumstances seem to the writer to be the first value of life, of course, with the amendment that this uniqueness is not immoral.
Shukshin created a whole gallery of memorable characters, united in that they all demonstrate different facets of the Russian national character. This character manifests itself in Shukshin most often in a situation of dramatic conflict with life circumstances. Shukshin's hero, who lives in the countryside and is busy with his usual, village-style, monotonous work, cannot and does not want to dissolve into rural life "without a trace". He passionately wants to get away from everyday life at least for a while, his soul yearns for a holiday, and his restless mind seeks the “higher” truth. It is easy to see that with the outward dissimilarity of Shukshin's "freaks" to the "high" heroes-intellectuals of Russian classics, they, Shukshin's "village residents", also do not want to limit life to the "home circle", they are also tormented by the dream of a bright life full of meaning. . And therefore they are drawn outside their native outskirts, their imagination is occupied with problems that are by no means of a regional scale (the hero of the story "Microscope" acquires an expensive item in the hope of finding a way to fight microbes; the character of the story "Stubborn" builds his "perpetuum mobile").
The collision characteristic of Shukshin's stories - the clash of "urban" and "village" - not so much reveals social contradictions as it reveals the conflicting relationship between dream and reality in the life of the "little man". The study of these relations is the content of many of the writer's works.
The Russian person in the image of Shukshin is a searching person, asking life unexpected, strange questions, loving to be surprised and surprised. He does not like hierarchy - that conditional worldly "table of ranks", according to which there are "famous" heroes and there are "modest" workers. Opposing this hierarchy, Shukshin's hero can be touchingly naive, as in the story "Freak", an incredible inventor, as in "Mil pardon, madam!", Or an aggressive debater, as in the story "Cut off". Such qualities as obedience and humility are rarely present in Shukshin's characters. Rather, on the contrary: they are characterized by stubbornness, self-will, dislike for insipid existence, resistance to distilled sanity. They cannot live without "leaning out". The final author's characterization of the hero of "The Freak" is remarkable: "I adored detectives and dogs. As a child, I dreamed of being a spy."
Shukshin's hero would like to give his life a festive decoration, to blossom life with imagination; he has an excess of feelings and aspirations, he loves spectacular, theatrical forms of behavior. “Vasyatka” Knyazev, who marvelously painted the stove at home, tries to please his daughter-in-law and paints the baby carriage, although, as it turns out, the daughter-in-law will not appreciate his artistic talent. Bronislav Pupkov is so involved in the role of a special agent who shot at Hitler that he sincerely cries when he talks about the fatal mistake.
The high impulses of Shukshin's heroes, alas, are not given to be realized in life, and this gives the reproduced situations a tragicomic tone. However, neither anecdotal incidents nor the eccentric behavior of the characters prevent the writer from seeing the main thing in them - the people's thirst for justice, concern for human dignity, craving for a life filled with meaning. Shukshin's hero often does not know where to put himself, how and what to use his own spiritual "breadth", he toils from his own uselessness and stupidity, he is ashamed when he causes inconvenience to loved ones. But this is precisely what makes the characters' characters alive and eliminates the distance between the reader and the character: Shukshin's hero is unmistakably guessed as a man of "his", "ours".
In the works of Shukshin, the figure of the narrator is important. He himself and those whom he talks about are people of common experience, common biography and common language. That is why the author's pathos, the tone of his attitude to the depicted are far from both sentimental sympathy and frank admiration. The author does not idealize his heroes just because they are “his own”, rural ones. The attitude to what is depicted in Shukshin's stories is manifested in Chekhov's restraint. None of the characters has the full possession of the truth, and the author does not seek a moral judgment on them. Another thing is more important for him - to identify the reasons for one person not recognizing another, the reasons for mutual misunderstanding between people.
This is one of Shukshin's most vivid and deep stories, the story "Cut off". The central character of the story, Gleb Kapustin, has a “fiery passion” - to “cut off”, “settle down” people from the village who have achieved success in life in the city. From the prehistory of Gleb's collision with the "candidate" it turns out that a colonel who came to the village on a visit was recently defeated, who was unable to remember the name of the Governor-General of Moscow in 1812. This time Kapustin's victim is a philologist, deceived by the outward absurdity of Gleb's questions, unable to understand the meaning of what is happening. At first, Kapustin's questions seem ridiculous to the guest, but soon all the comedy disappears: for the candidate, this is a real test, and later the clash develops into a verbal duel. In the story, the words “laughed”, “grinned”, “laughed” are often found. However, the laughter in the story has little to do with humor: it either expresses the indulgence of a city dweller to the “oddities” of fellow countrymen living in the village, or it becomes a manifestation of aggressiveness, reveals revenge, a thirst for social revenge, which owns Gleb’s mind.
Disputants belong to different cultural worlds, different levels of social hierarchy. Depending on personal preferences and social experience, readers can read the story either as an everyday parable about how a “smart man” outwitted a “learned gentleman”, or as a sketch about the “cruel morals” of the inhabitants of the village. In other words, he can either take the side of Gleb, or sympathize with the innocent Konstantin Ivanovich.
However, the author does not share either one or the other position. He doesn't justify the characters, but he doesn't condemn them either. He only superficially indifferently notices the circumstances of their confrontation. So, for example, already in the exposition of the story, ridiculous gifts brought by guests to the village are reported: “an electric samovar, a colorful dressing gown and wooden spoons.” It was also noticed how Konstantin Ivanovich “drove in a taxi”, and how he recalled his childhood with a deliberate “sadness” in his voice, inviting the peasants to the table. On the other hand, we learn about how Gleb “squinted his eyes vindictively”, as if “an experienced fist fighter”, went to the Zhuravlevs’ house (“somewhat ahead of the rest, hands in pockets”), how he, “it was clear - he was getting close to jump."
Only in the finale does the author tell us about the feelings of the men who were present at the verbal duel: “Gleb ... continued to surprise them invariably. Even admired. Though love, let's say, was not there. No, there was no love. Gleb is cruel, and no one, ever, anywhere has ever loved cruelty.” This is how the story ends: not with moralizing, but with regret about the lack of tact and sympathetic attention of people to each other, about a meeting that turned into a break. The “simple” person in the image of Shukshin turns out to be completely “difficult”, and village life - internally conflicted, lurking serious passions behind everyday mata.
In form, Shukshin's stories are distinguished by their scenography: as a rule, this is a small scene, an episode from life, but one in which the ordinary is combined with the eccentric and in which the fate of a person is revealed. A constant plot situation is the situation of a meeting (real or failed). There is no external plan in the unfolding plot: stories often gravitate towards the form of a fragment - without a beginning, without an end, with unfinished constructions. The writer has repeatedly spoken about his dislike for a closed plot. The composition of the plot is subject to the logic of conversation or oral storytelling, and therefore allows for unexpected deviations and "extra" clarifications and details.
Shukshin rarely gives any detailed landscape descriptions and portrait characteristics of the characters. So, for example, the description of Gleb's appearance is limited to two strokes: "a thick-lipped, blond-haired man of about forty." Nothing is reported at all about the appearance of his future opponent Konstantin Ivanovich. The characters in Shukshin's prose are revealed primarily in the dialogues. The author's text is often reduced to minimal inclusions and resembles theatrical remarks ("The men laughed. Moved. And again stared at Gleb").
The boundary between the "author's word" and the "hero's word" is in most cases blurred or completely absent. The bright side of Shukshin's individual style is the richness of lively colloquial speech with its various individual and social nuances. Shukshin's heroes are debaters, experienced talkers who own many intonations, who know how to insert a proverb to the place, flaunt a “learned” word, or even swear furiously. Their language is a conglomeration of newspaper stamps, colloquial expressions and interspersed with urban jargon. Frequent interjections in their speech, rhetorical questions and exclamations give the conversation an increased emotionality. It is language that is the main means of creating the characters of Gleb Kapustin and Vronka Pupkov.
For example, Gleb's speech is full of bookish words and phrases ("to lie in orbit", "at this stage"); clericalisms unusual for oral speech (“in what area do you reveal yourself?” instead of “what kind of work do you do?”). The comic coloring of Gleb's speech is given by constant errors in the use of foreign words, false terms ("strategic philosophy", "general education candidates"). Next to these elements in the language of Kapustin is the strongest colloquial jet: sayings, sayings, comparisons. The combination of heterogeneous produces a comic effect. But in Gleb's accusatory speech against the "candidate" there are no mistakes, and there is not a trace of comic coloring. With his accusatory speech, Gleb gives an example of ideological elaboration: as if imitating newspaper samples, he stops hearing the “candidate”, consolidating his victory by accusing his opponent of ignorance and misunderstanding of the people and mocking calls for modesty.
Shukshin Vasily
Vasily Shukshin
In the twenties, a certain Lesya (Aleksey Otpuschepikov) lived and acted brightly in our village. They say that he was short, swarthy, sharp ... Lesya was afraid like fire: he was bold and cruel. Despair.
He stepped over the line at all when he stabbed his own wife. The wife, having lived with him for some time, declared that enough was enough: she could no longer endure his revelry and stabbing. And she left. To father and mother. Lesya ambushed her and twice, under the knife, asked:
Will you live with me?
And the twice determined woman said:
Lesya hit.
Lesya invented a strange punishment: to go to church carefully for a year - to atone for sin. Lesya walked, defiantly yawned in church, amusing friends and young women and girls.
The story that I want to tell happened later, when Lesya, in fact, was already engaged in robbery. He stole and robbed not in his village, he was leaving somewhere. In his village he only took horses. In the evening he would come to a peasant who had a better economy and good horses on the road, and said:
Give me a couple for the night. I will bring you to the world.
The man gave. How can you not? If you don't give, you will take. You don’t have control over Lesya, the authorities are far away - you won’t shout. The peasant gave horses and died all night with fear and sting: come on, let Lesya be knocked somewhere ... Or he will fall for thieves and go on the run. Goodbye horses! But Lesya drove horses to the light: fate had spared Lesya so far. But Lesya did not spare fate: he tormented her, drove her forward and to the sides. It was as if the man wanted to make a fortune as soon as possible, to pick up everything at random, and leave. He sensed his near end. Yes, how not to hear.
Lesya found out: a shopkeeper lives in the village of Chokshi ... A smart shopkeeper: he got rich in a short time in the NEPman terms, he was going to continue to get richer. He lives carefully, manages, guards the store reliably: neither undermining, nor vile, nor direct raids can be taken.
Lesya thought, thought... And invented it.
The shopkeeper had a daughter, a fiancee. And the girl is good, and, of course, there were suitors, but ... Les caught the shopkeeper! Yes, not somehow very cunningly, complicated, but simply, like in a fairy tale.
Lesya comes to a certain Varlam in our village. Varlam kept the coachman, there were troikas, there were Varlamov's Shorkuns under the arc ... Varlam himself is a figure: a corps, important. Lesya comes to him and says:
You will be, Varlam, this night for me instead of my own father.
Like this? Varlam did not understand.
Let's go to woo the Chokshinsky bride. I, therefore, am your son, and you are also a shopkeeper, we have two shops with you, but one, they say, needs to be repaired. Here. Pawn the most frisky troika, dress up yourself, give me something like that too ... groom's. Do not roam my bone in the damp earth ... - Lesya liked to say that. - Do not noah my bone in the damp earth, we will tie him up, this ace.
Why go at night looking for something? - Varlam tried to play for time and somehow, maybe, wriggle out.
So it’s necessary, don’t talk too much,” said Lesya.
You don't talk much with Lesya.
Varlam pawned a triplet, dressed up for the sake of the occasion, gave Lesya a smarter outfit ... Let's go.
We've arrived. They introduced themselves: father and son, such and such. We heard from kind people that ... Well, what is said in such cases. They told about themselves: two shops, one sells, the other needs to be repaired (for some reason, Lesya especially stressed this). In addition, it is desirable to take the bride and dowry - well, not all, the necessary part - to be taken away now. Why? And so because the son is leaving tomorrow for goods, and there is no one to stay in the shop with the old man. And then there will be a wedding, and a wedding, and that's it. Here. The case, as it seems to the father and son, is worthwhile: a shop in Choksha and a shop in Nizovka - two shops, and when another shop is repaired in Nizovka, there will be three shops. It's already... Huh? Chokshinsky ace caught. Lesya, as Varlam later told, did not fuss, did not hurry to take what was given, but began to tediously bargain for a dowry, for every rag, which surprised Varlam very much and completely reassured his future father-in-law.
From Choksha to Nizovka they rolled merrily. They pulled mead from the "father-in-law" ... Varlam imagined himself to be a goofball on the irradiation and almost flew out with his tongue. I wanted to loudly envy Lesya's fate.
And it’s good, sting you, be razb ... - and he broke off.
The groom hugged and kissed the bride.
We've arrived.
Lesya's hut was small, lopsided ... And no housekeeping, just a rolling ball. There is not even a city.
The bride sensed something was wrong.
Where are the shops? he asks.
And here ... one, - Lesya shows a shop in the hallway, - here is another, on three legs, this one needs to be repaired. Here.
Somehow the girl managed to escape from Lesia later. Her father sent his people, they stole her. They did not dare to take it away by open force: Lesya has friends in the black taiga. The chest with good-rum remained with Lesya.
Lesya ended his days in the taiga: they did not share the stolen goods with their friends. Lesya, apparently, due to his wild habit of haggling for rags, argued ... The friends - to match him - did not yield. We exchanged fire.
And this end of it (and this is how many who looked like Lesya ended) excites me in a strange way. I can’t somehow explain to myself this peculiarity - to be greedy when sharing free goods, in general, it is ugly to appreciate a colored patch - in a person who later gave away, scattered, drank these patches with great ease. Let's say, flaps - that was then - wealth. But even wealth went to waste. Maybe so: there lived in the Forest a century-old peasant who, from his bitter centuries, endured invincible greed. Greed, which is no longer greed, but a way, a means to survive, when not to survive is very simple. Lesya wanted to get rid of this dead weight of the soul and could not. Died. Apparently it's not that easy to get out.
In his works, Shukshin often used images of ordinary people. He looked for them among the people. Most often he was interested in unusual images. Despite the fact that they were not immediately clear to many, they were distinguished by their closeness to the Russian people. It was this image that we could see when studying the story of Shukshin Chudik. And in order to get acquainted with its meaning and understand what the story of Vasily Shukshin teaches, we offer it and.
Brief retelling of the plot
If we talk briefly about the plot, then at the very beginning we get acquainted with Vasily Egorovich Knyazev. However, Knyazev's wife often calls her husband simply - Chudik. The peculiarity of this person is the eternal stories in which he fell. Something constantly happens to Chudik, and now he decides to go to his brother in the Urals. Chudik had been planning this trip for a long time, because for twelve whole years he had not seen his own blood. The trip was accomplished, but it was not without adventures.
So, at the beginning of his journey, Chudik decides to buy gifts for his nephews. There, in the store, he saw a banknote of fifty rubles, and he believes that someone dropped it. But he did not dare to raise other people's money. The only problem is, the money turned out to be his. Unable to overcome himself in order to take the money, he goes home to withdraw money from the book again. Naturally, at home he gets a scolding from his wife.
The following situation happened to the hero when he was flying in an airplane. For certain reasons, the plane has to land not on the runway, but in an open field. Here, the neighbor, who was sitting next to the Chudik, from experience and from shaking, his jaw falls out. The hero wants to help and raises his false jaw, for which he receives not gratitude, but a statement. Another would have answered or been offended, and our Chudik also invites his neighbor on the trip to visit his brother to boil his jaw there. This self-confident person did not expect such a reaction, and then the telegraph operator orders to change the text of the telegram that Chudik wants to send to his wife.
In his brother's house, Vasily feels the hostility that comes from his daughter-in-law. She despises the villagers, even though she herself comes from the village. However, he wants to forget everything rural in every possible way in order to be completely considered urban. So he treats the villager Vasily with hostility. The brothers have to go outside and reminisce there.
In the morning, Chudik found that he was alone at home. In order to somehow soften his brother's wife, he decides to decorate the stroller by painting it. Then I went for a walk around the city. He returned only in the evening and saw how the husband and wife were arguing. The reason was him and the painted carriage. In order not to annoy the daughter-in-law any more, Chudik goes back home. This caused mental pain to the hero, and in order to somehow find peace of mind, he wanted to walk barefoot on the ground, which was soaked from steamy rain.
The main characters of the story Chudik
The main character of Shukshin's story is the thirty-nine-year-old Chudik. That is what his wife calls him, even though from birth his name is Vasily. The image of the hero is unsophisticated and simple. This is a man who did not dare to take his money, considering it to be someone else's, and put it on the counter. And when he discovered that it was his banknote, he did not dare to return for them. He is afraid that the queue will think that he takes someone else's.