The spiritual world of man in the works of Vasily Belov. Vasily Belov

Target: give an idea /present/ pictures of the life and fate of the people of the village in the works of the named authors.

Plan:
1. “Farewell to Matera” by Valentin Rasputin.
2. "Eves" by Vasily Belov.
3. “Men and Women” by Boris Mozhaev.

1. Writer Valentin Rasputin is sure that from birth we all absorb pictures of our homeland, that they influence our character. Hence the following confession: “I write about the village because I grew up there, it nurtured me, and now it is my duty to tell the truth about it.”
V. Rasputin’s whole life is connected with the Angara; here, on the Angara, the action of the story “Farewell to Matera” takes place. A small island on the Angara, only five kilometers away. Both the island and the village on it are called Matera. She, this Matera, lives, “meeting and seeing off the years.” “You couldn’t find a better land than this”: “it had enough expanse, and wealth, and beauty, and wildness, and every kind of creature in pairs.”

Like our entire country, Matera sent her sons to defend their Motherland during the war, and just like numerous villages throughout vast Russia, she was orphaned without seeing many of them. Two sons of Nastasya and Yegor died, the war took away two sons and Daria: one remained in a mass grave on the wrong side, the other, who replaced those who left, died on a timber rafting trip. Life and time flow: The scale of new construction directly affected the island: during the construction of the Matera hydroelectric station, it was subject to flooding. We see the village in the last summer of its existence. It is not easy to part with your land. Just as people have ancestors, the earth also has a past. The death of Matera is a difficult time for many village residents. Some doubt the correctness of the decision to flood Matera, others (for example, Daria) are sure that this is under no circumstances necessary: after all, there are fertile lands here, excellent harvests. Of course, the hydroelectric power station is being created for the benefit of the people. Well, aren’t the inhabitants of the island the people? Benefit for millions and blasphemy over dozens are incompatible things. The destruction of the cemetery is especially striking. Or how Daria says goodbye to her hut: she whitewashed it, scrubbed the floors, washed the windows. Ripping people from their homes and turning their souls upside down is not human.

2. Vasily Belov’s work “Eves” is a chronicle of collectivization in a northern village, two villages, Olkhovitsa and Shibanikha, are at the center of the narrative. This is a world in which such strong masters organically coexist - workers like Danilo and Pavel Nachin, the Rogovs, Evgraf Mironov, the skilled blacksmith Gavrila Nasonov, the tight-fisted Luchok, the careless Sudeikin, those living “from the world” Nosopyr and Tinyusha, the pop-progressive father Nikolai , former landowner Prozorov. This is a world where everyone knows everything about each other, where everyone is dependent on the other and therefore cannot help but take him into account. And this world is trying to split. Most of all, we are driven by this idea of Ignakha Sopronov, the secretary of the Shibanov party cell /subsequently removed from this position/. Sopronov takes revenge on his fellow villagers for all the previous failures and the contempt with which he was surrounded.

At first, the news about collective work among the Shibanov and Olkhov residents does not cause concern. Danilo Pachin reasons like this: “..it was easier for the men before.” Citing authentic documents from that time, Belov gives a broad picture of very contradictory factors and emerging circumstances as a result of directives coming from above.

The novel by Vasily Belov is a debate novel, where the characters have sharp, irreconcilable disputes among themselves. For example, Pachin, Mironov, Nasonov do not think about why they were included in the kulaks and declared enemies of the working people, with the help of direct sociological research with digital calculations, the writer strives to prove that there was no need at all to so cruelly and insanely destroy the centuries-old peasant way of life, instead of adapting it towards socialism, in accordance with real conditions.
The fate of many peasants was tragic. Deliberately subjected to an unaffordable tax by Sopronov, the men “ran” to the collective farm.
Today, many publicists and critics are pondering why the peasants, subjected to such brutal repression, did not rebel. But who to rebel against? Against the native Soviet government? After all, they asserted it in bloody civilian battles!
Vasily Belov knows people's life and writes about his heroes with love and understanding. He created a talented work about one of the most dramatic pages of our history.

3. Boris Mozhaev’s novel “Men and Women” is dedicated to these same tragic pages of the “great turning point.” The thoughts of a strong middle peasant Andrei Ivanovich Borodin echo the thoughts of Danila Pachin in “Eves”. “It’s not the trouble that collective farms are created, the trouble is that they are not done like human beings.” Borodin, with his practical mind, notices the impending danger of separating the peasant from the land and hence - an indifferent, disinterested attitude towards the final result of his work.
In the words of Borodin, the author expresses his pain that “the peasant is coming to an end.” After all, on a collective farm it will no longer be a man, an independent owner, but a worker who must be “kept an eye on.” Extremely interesting and important for understanding the author’s intention is the image of Uspensky, a true intellectual who respects the faith, morals, customs of the people, the uniqueness of their way of life: “Do not cut everyone with a common brush, do not drive them into a trench, but endow them with rights, freedom, so that each individuality develops to its full potential.” moral perfection."
The works of Vasily Belov and Boris Mozhaev reflect today's ambiguous attitude towards the era of collectivization and convey the spirit of that difficult time.

Brief conclusions:

1. Matera is a small island on the Angara, with a village on it. During the construction of the Matera hydroelectric power station, it must be flooded. It is not easy for residents to part with their land. Ripping people from their homes and turning their souls upside down is “not human.”
2. "Eves" - a chronicle of collectivization in a northern village. Citing authentic documents from that time, Belov gives a broad picture of very contradictory factors due to directives coming from above. With the help of direct sociological research with digital calculations, the writer seeks to prove that there was no need to so cruelly and thoughtlessly destroy the centuries-old peasant way of life, instead of adapting it to socialism, in accordance with real conditions.
3. The thoughts of the strong middle peasant Andrei Ivanovich Borodin from the novel “Men and Women” echo the thoughts of Danila Nachin in “Eves”: “..it’s not the trouble that collective farms are created, the trouble is that they are not done like human beings.” With his practical mind, Borodin notices the coming danger of separating the peasant from the land.
To understand the author's intention, the image of Uspensky is important - a genuine Russian intellectual who respects the faith, morals, customs of the people, and the uniqueness of their way of life.
The works of V. Belov and Mozhaev reflect today's ambiguous attitude towards the era of collectivization

Literature:
1. N. Krupnina, N. Sosnina “Meeting with Matera”.
2. N. Ulyashov “Eves” by V. Belov and the theme of collectivization in Soviet prose.”

F. Maksudova,
literature teacher,
Kazan, RT

Chaotic, gloomy and painful years of collectivization. Northern outback. A people who lived for many years according to their own laws, knowing almost nothing about the outside world, suddenly wakes up. The revolution gave birth to several social strata, although it should have equalized everyone. Some began to work selflessly, while others only pretended that revolutionary fervor had gripped their hearts.

Pavel Pachin works honestly. Work does not overshadow the beauty of the world around him. He is a poet somewhere deep down in his soul, since he perceives everything he sees quite spiritually. He loves to philosophize with himself, and despite the extreme fatigue from work, he gets up early in the morning and says hello to the sun.

He builds a mill for people and this gives him even more strength.

Ignakha Sapronov is completely indifferent to the land; for him, work is a waste of time. That's why people like Paul infuriate him. He hides his imperfections behind anger. It was his fault that Pavel’s mill was able to serve people. For Pachin, this event becomes not just grief - he lost heart.

Grandfather Nikita is a storehouse of wisdom for Pavel. But not in a situation where human qualities are broken on inanimate paper. Ignakha Sapronov is far from the earth, and therefore does not have that natural mind that is inherent in real workers. For him, the main thing is his position, and whether he is respected or not, Ignakhev doesn’t care. But spiritual emptiness did not give him such an opportunity - he was removed from his post. How can he continue to live, because the earth is not his element?

These are not the only heroes of the novel. The village of Shibanikha is rich in colorful personalities who live not only by work, but also know how to have fun. Akindin Sudeikin sings ditties and endlessly jokes, the proud and tireless Danila Pachin, the cunning Zhuchok and the important Evgraf Mironov. They equally respect traditions and appease their brownies, despite the fact that a revolution has taken place and it seems like nothing like this should exist.

Each has their own life story, but they are united by many things - a common past, hard work and, of course, hopes for a bright future, which they do not doubt for one minute.

Essay on literature on the topic: Brief summary of the Eve of Belov

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Summary of Belov's Eve

Crooked Nose lay on his side, and wide dreams, like spring floods, surrounded him. In his dreams he again thought his free thoughts. I listened to myself and marveled: the world is long and wonderful, on both sides, on this and that.

Well, and that side... Which, where is it?

Nosy, no matter how hard he tried, could not see any other side. There was only one white light, one single one. It's just too big. The world expanded, grew, ran away in all directions, on all sides, up and down, and the farther, the more violently. There was black darkness everywhere. Mixing with the bright light, it passed into distant azure smoke, and there, behind the smoke, even further, blue, then cubic, then pink, then green layers moved apart; heat and cold canceled each other out. Empty multi-colored miles swirled and swirled in depth and breadth...

“And then what? - Nosopyr thought in his sleep. “Next, apparently, is God.” He wanted to draw God too, but it turned out not so bad, but somehow not real. Nosopyr grinned with his wolf-like, empty, sheep-like, imperturbable gut, and was amazed that there was no fear of God, only respect. God, in a white robe, sat on a painted pine throne, fingering some gilded bells with calloused fingers. He looked like old man Petrusha Klyushin, slurping an oatmeal stick after the bath.

Nosopyr searched for respect for secrets in his soul. Again he sketched the godly army on white horses, with light pink cloaks on sloping, as if girlish, shoulders, with spears and ensigns curling in the azure, then he tried to imagine a noisy horde of the unclean, these scoundrels with red mouths, galloping on stinking hooves.

Both of them constantly strived for battle.

There was something empty-headed and unreal about it, and Nosopyr mentally spat at this and that. He returned again to the earth, to his quiet winter volost and to the freezing bathhouse, where he lived as a bastard, alone with his fate.

Now he remembered his real name. His name was Alexei, he was the son of pious, quiet parents with many children. But they did not like their youngest son, which is why they married the volost beauty. On the second day after the wedding, the father took the newlyweds out of the outskirts, to a wasteland overgrown with nettles, stuck a spruce stake into the ground and said: “Here, get vaccinated, hands have been given to you...”

Alekha was a portly man, but his face and figure were too awkward: long legs of varying thickness, a scarf in his torso, and on his large round head he had a wide nose all over his face, his nostrils sticking out to the sides like dens. That's why they called him Nose. He built a hut on the very spot where his father had put a stake, but he never took root in the land. Every year he went to work as a carpenter, he labored, he didn’t like to live on a foreign side, but because of need he got used to wintering. When the children grew up, together with their mother, leaving their father, they set off across the Yenisei River; Stolypin the minister really praised those places. Another neighbor, Akindin Sudeikin, then came up with a ditty:

We live beyond the Yenisei,

We don’t sow oats or rye,

We walk at night, we lie down during the day,

They coughed at the regime.

There was no word from the family. Nosopyr was left alone forever, grew hairy, became crooked, sold the house, bought a bathhouse for housing and began to feed from the world. And so that the children would not tease the beggar, he pretended to be a cow doctor, carrying a canvas bag with a red cross on his side, where he kept a chisel for cutting off hooves and dry bunches of St. John's wort.

He also dreamed of what was or could be at any time. Right now, sad stars are herding in the cheerful purple sky above the bathhouse, crumbly soft snow is sparkling in the village and in the garden backyards, and the moon shadows from the farmsteads are quickly moving across the street. Hares wander around the barn, and even near the bathhouse itself. They move their ears and silently, without any sense, jump through the snow. A hundred-year-old black raven sleeps on a Christmas tree in the suburbs, the river flows under the ice, in some houses unfinished Nikolsky beer wanders in tubs, and he, Nosopirya, has aching joints from previous colds.

He woke up from the rising of the moon, the gypsy sun penetrated the window of the bathhouse. The weight of the yellow light pressed on Nose's healthy eyelid. The old man did not open his seeing eye, but opened his dead eye. Green sparks floated and swarmed in the darkness, but their quick emerald scattering immediately gave way to a heavy, bloody spill. And then Nosopyr looked with his good eye.

The moon was shining through the window, but it was dark in the bathhouse. Nosopir felt around to find an iron mower and break off a splinter. But there was no mower. It was him again, Bannushko. Nosopyr remembered well how he stoked the heater in the evening and how he stuck the mower between the wall and the bench. Now Bannushko has again hidden the tool... Lately he has been pampering more and more often: he will either steal a bast shoe, then cool the bathhouse, or pour tobacco into the salt.

Well, well, give it back,” Nosopyr said peacefully. - Put it in place, to whom they say.

The moon was covered with a random cloud, and the dead yellow cloud also disappeared in the bathhouse. The heater had completely cooled down, it was cold, and Nosopyr was tired of waiting.

You're completely crazy! What a scoundrel, really. What? After all, I’m not young to indulge with you. Well, that's it.

The mower showed up at another bench. The old man picked up some splinters and wanted to light the heater, but now, right from under his hand, Bannushko stole the matches.

Well, wait a minute! - Nosopyr shook his fist into the darkness. - Get out if you want!..

But Bannushko continued to play tricks on his roommate, and Nosopyr stamped his foot.

Give me the matches, you fool!

It seemed to him that he clearly saw two emerald eyes flickering like a cat from under the bench, where there was a hole in the floor. Nosopyr began to quietly creep up to that place. He was just about to grab Bannashka by the slippery fur when his leg turned upside down and Nosopir flew. He almost tumbled over a pile of water and hit the door with his shoulder. “It’s good that it wasn’t with your head,” he thought casually. Then Bannushko squealed and rushed into the porch, but Nosopyr didn’t yawn, he managed to slam the door in time. He pulled the bracket tightly and was sure that he had caught the tail of the bannushka in the vestibule.

There you go! Are you still going to squabble? You will be rude, boo...

The squealing outside the door turned into some kind of whining, then everything seemed to calm down. The nose-noser slapped his robe: the matches ended up in his pocket. He fanned the fire and illuminated the porch. The end of the rope was caught between the door and the jamb. “What a rogue, what a rogue,” Nosopyr shook his head. “Every time you have to sin.”

Now he lit a torch and inserted it into the bent iron light. A cheerful, hot light illuminated dark, as if varnished, logs, white benches, a perch with a birch bark pestle hanging on it and a canvas bag, where cattle drugs were stored. A large black heater occupied a third of the bathhouse, the other third - a high two-stage shelf. A bunch of water with a wooden ladle in the shape of a duck stood on the bottom step. There was also a sheepskin lying there, and on the window there was a birch bark salt shaker, a tea set, a spoon and a cast iron pot, replacing not only a cabbage soup pot, but also a samovar.

Nosopir took the rope, which Bannushko slipped into the porch instead of a tail. I went barefoot into the cold to get firewood. The children ran away from the bathhouse, screaming. They stopped and danced.

Grandpa, grandpa!

But nothing!

Well, I have a lot of nothing at home.

Nosopir looked around. Above, on the mountain, dozens of tall white smokes rose to the sky from our native Shibanikha. All the surrounding villages were smoking, as if crowded by frost. And Nosopyr thought: “Look, it’s... Rus' is drowning the stoves. I need it too."

He brought firewood, opened the chelisnik - a smoke hole - and lit the heater. The firewood started a crackling, smokeless fire. Nosopir sat down on the floor opposite the fire - in the hands of a poker, his hairy legs rolled up - he loudly sang the troparion: “... the original word to the father and the spirit from the virgin, born for our salvation, let us sing of faith and worship, for we have deigned the flesh to ascend to the cross and endure death and be resurrected dead by your glorious resurrection!”

INTRODUCTION

VASILY BELOV - RUSSIAN WRITER, RESEARCHER OF THE SPIRITUAL WORLD OF HUMAN

BELOV'S TALES AS A METHOD FOR STUDYING THE SPIRITUAL WORLD OF MAN

THE NOVEL "EVE" - A DEEP STUDY OF THE SPIRITUALITY OF SOCIETY IN RETROSPECTIVE

. “CITY PROSE” BY VASILIY BELOV AND THE PROBLEM OF REVIVAL OF THE LOST HARMONY OF THE SOUL IN THE BOOK “LAD”

CONCLUSION

LITERATURE

INTRODUCTION

“It was necessary to live, sow grain, breathe and walk on this difficult land, because there was no one else to do all this...” - the phrase that crowns Vasily Belov’s story “Spring”. This “need” - just like many other Russian writers - comes from the springs of national consciousness. Vasily Belov's words are always profound. His artistic thought, often directed to the past, is always internally modern, always aimed at the main thing, “around which the soul walks” of the great writer, our contemporary. And if we really want to know our Motherland, today we can no longer do without Belov, without his words about our native land. This increases relevancetopic chosen for research.

Objectresearch: the work of Vasily Belov.

Itemresearch: the spiritual world of man in the works of Vasily Belov.

Targetresearch: determining the essence of Vasily Belov’s creative consciousness through the spiritual world of the heroes of his works.

On the way to the goal, the following were decided: tasks: define the work of Vasily Belov as a tool for studying the spiritual world of man; analyze the tales of Vasily Belov as a method of studying the spiritual world of man; consider the problems in the novel “Eves” from the point of view of a deep study of the spirituality of society in retrospect; identify the problems of the lost harmony of the soul in the “urban prose of Vasily Belov and its revival in the book “Lad”.

Methodsresearch: historical definition, artistic and aesthetic generalization.

The work was based on the works of: L.F. Ershova, A. Malgina, A Kogan, Y. Selezneva, D. Urnova.

1. VASILY BELOV - RUSSIAN WRITER, RESEARCHER OF THE SPIRITUAL WORLD OF HUMAN

Vasily Belov began as a poet and as a prose writer. In 1961, a book of his poems “My Forest Village” and a story “The Village of Berdyayka” were published simultaneously. Even earlier, individual poems, articles, essays and feuilletons by the writer appeared on the pages of regional newspapers in the Vologda region.

The leitmotif of V. Belov's book of poems is the images of the “alder side” and the “pine village.” In unpretentious words it is told about the Vologda region dear to the poet’s heart, about the chill of the first awakened feeling, about a soldier returning to his father’s house. Lyrical landscape sketches and genre pictures of rural life alternate with poems on historical topics (“Builders”, “Grandfather”, etc.).

When comparing the collection of poems with the story “The Village of Berdyayka,” it is clearly visible that poetry, in ideological and thematic terms, was noticeably ahead of early prose. V. Belov's first story, written quite professionally, did not yet foreshadow the emergence of a significant artist. Motility and descriptiveness dominated in it over the analysis of the spiritual state of the heroes. The language of the author and characters is familiarly literary and does not have any special features of northern Russian speech. In “The Village of Berdyayke” the story is told in only one time dimension - the present day (later on, V. Belov will often intersperse paintings or thoughts about the past and the present in the structure of the same work, giving special historical depth to the narrative).

The artistic palette is incomparably enriched. The writer becomes subject to intimate movements of the heart and lofty universal thoughts. Lyricism is complicated by a psychological element, and in the rendering of dramatic and even tragic collisions everything is determined by noble restraint. Images of nature and human moods seem to shimmer, flow into one another, creating a feeling of the unity of all things, which helps to see and reveal the kinship of the “thinking reed” with the surrounding living and inanimate world.

If the miniature “In the Motherland” is a prose poem, then the story “Behind Three Portages” is a social-analytical narrative that contains many years of observations and thoughts of the writer about the life of a northern Russian village. The composition of the story is organized by the image of the road. This is also a symbol of life, a person’s path from carefree youth to strict, demanding maturity.

In the story “A Habitual Business,” V. Belov gave examples of a daring search in the most promising direction. In the new story, the writer turns to a detailed analysis of the first and smallest unit of society - the family. Ivan Afrikanovich Drynov, his wife Katerina, their children, grandmother Evstolya - this, in essence, is the main object of research. The writer's focus is on ethical issues. Hence the desire to show the origins of the people's character, its manifestation at the sharp turns of history. It would seem that abstract categories - duty, conscience, beauty - are filled with high moral and philosophical meaning in new living conditions.

The character of the main character of the story “A Business as Usual”, Ivan Afrikanovich, cannot be read within the framework of the usual production prose. This is the Russian national character, as it was recreated by the classics of the 19th - early 20th centuries, but with new features that were formed during the period of collectivization. Despite the outward primitiveness of Ivan Afrikanovich’s nature, the reader is struck by the integrity of this personality, his inherent sense of independence and responsibility. Hence the hero’s innermost desire to comprehend the essence of the world in which he lives. Ivan Afrikanovich is a kind of peasant philosopher, attentive and insightful, able to unusually subtly, poetically, somehow sincerely see the world around him, the charm of northern nature.

V. Belov is interested not so much in the production biography as in the spiritual biography of the hero. This is precisely what those critics who accused Ivan Afrikanovich of social passivity, “social infancy,” primitivism and other sins failed to understand.

Belov's heroes simply live. They live a difficult, sometimes dramatic life. They have neither mental nor physical breakdown. They can work for twenty hours, and then smile a guilty or shy smile. But there is a limit to their capabilities: they burn out prematurely. This is what happened to Katerina, Ivan Afrikanovich’s consolation and support. The same thing can happen to him.

Belovsky’s hero is not a fighter, but he is not an “existent” either. The artist’s discovery is that he showed one of the typical manifestations of the Russian national character. And this was done by a writer who creatively mastered the legacy that was bequeathed by the classics.

The hero of “Business as Usual” stoically endures everyday troubles, but he lacks the courage to make a radical change in his destiny. His heroism is inconspicuous and unostentatious. During the Great Patriotic War he was a soldier: “he visited Berlin,” six bullets went through him. But then the fate of the people and the state was decided. In ordinary peaceful conditions, especially when it comes to personal matters, he is quiet and inconspicuous. Ivan Afrikanovich loses his temper only once (when it comes to the certificate required to leave for the city), but the hero’s “rebellion” is useless, the trip turns into a tragic farce: Ivan Afrikanovich “repented” of leaving his native place.

In the early stories (“The Village of Berdyayka”, “Sultry Summer”) the plot is dynamic. In Business as Usual, things are different. The hero himself is unhurried and unfussy, and so is the flow of the narrative. The stylistic polyphony compensates for the weakening of the plot intrigue. Instead of improving the actual methods of plotting, the writer chooses a different path - he creates a completely new manner of narration, where the tone is set not by the previous objectified method from the author, but by two others - the skaz (lyrical-dramatic monologue) and the form of improperly direct speech. The revelation of a person’s inner world and the modeling of character are carried out through the skillful interweaving of these two stylistic and speech elements. At the same time, the truly magical power of the word contributes to a more complete revelation of the psychology of the image.

The transition to skaz can be explained by the desire to further democratize prose, the desire, having overheard folk speech (remember the famous “dialogue” of Ivan Afrikanovich with a horse), to simply convey it conscientiously, which was also characteristic of the masters of skaz in the 20s.

Thus, the spiritual foundations of Vasily Belov’s heroes lie in closeness to nature, the earth, and in the beneficial influence of work.

2. BELOV’S TALES AS A METHOD FOR STUDYING THE SPIRITUAL WORLD OF MAN

If in “A Habitual Business” the historical background is present in the form of a folklore-fairy tale synthesis (the tales of Grandma Evstolya), then in “The Carpenter’s Stories” history invades directly and directly. The journalistic beginning is noticeably increasing, and acute social issues are embodied not so much in the author's comments as in the fate of the main characters of the story - Olesha Smolin and Aviner Kozonkov.

Aviner Kozonkov is the type of person to whom Olesha and the author are critical. The guardian of dogma, the bearer of such an infallible principle, Aviner turns out to be a very vulnerable person, for he does not want to fulfill the first commandment of the peasantry - to work earnestly and live zealously, thriftily. On the pages of the story, two moralities, two visions of life collide. In Kozonkov’s eyes, his neighbor Olesha Smolin is a “class enemy” and “contra” just because he does not want to separate Kozonkov’s races.

Olesha Smolin, like the hero of “Business as Usual,” is a kind of peasant sage. It is to him that the baton of Ivan Afrikanovich’s thoughts about the meaning of existence, about life and death passes to him. Can’t you hear familiar intonations in Olesha’s inquisitive words: “Well, okay, this very body will wither away in the earth: the earth gave birth, the earth took it back. The body is clear. Well, what about the soul? This mind, well, that is, which I myself am, where does it go?”

Olesha is more often silent, listening to Aviner's rantings, but he is not silent. Moreover, although in the final scene Konstantin Zorin sees friends and enemies peacefully talking, here the contradictory complexity of life is revealed, in which pro and contra, good and evil coexist, and good and bad are whimsically mixed. The writer teaches us to wisely comprehend this difficult truth.

The tale (and "Carpenter's Stories" is written in this manner) is a genre of inexhaustible possibilities. It is fraught with enormous potential as one of the specific types of comic storytelling. V. Belov’s early short stories “The Bell Tower”, “Three Hours to Time”, where the testing of the tale style began, are also the writer’s first forays into the field of folk humor. A sly grin, ironic intonation, playful and sometimes sarcastic assessment of certain shortcomings and incongruities of life are the main signs of the comic style. In “The Lying Bukhtins of Vologda, in Six Topics” (1969), which, as stated in the subtitle, “are reliably recorded by the author from the words of the stove maker Kuzma Ivanovich Barakhvostov, now a collective farm pensioner, in the presence of his wife Virineya and without her,” in the story “Kissing” Dawns" (1968-1973), the story "A Fisherman's Tale" (1972) and other works revealed these sides of the writer's talent.

In “The Habitual Business” and “The Carpenter’s Stories,” V. Belov’s attention was attracted by an ordinary person, revealed in the chronological sequence of events, in ordinary, familiar conditions. There is nothing of this in “Bukhtins of Vologda...”. The writer turns to realism of a special kind - semi-fantastic and daring, to grotesque situations, to the constant violation of external plausibility. The author does not shun openly farcical moments (scenes of folk festivals, matchmaking, marriage, etc.).

Thus, tales as a type of Russian folk art provide the richest opportunities for revealing the spiritual essence of the Russian person, peasant and worker.

3. THE NOVEL “EVENS” - A DEEP STUDY OF THE SPIRITUALITY OF SOCIETY IN RETROSPECTIVE

If the literature of the late 20s - early 30s focused its attention on the life of the south or central part of Russia, then V. Belov takes the Russian North with all the specifics of its local conditions. The peasants, awakened by the revolution from social lethargy, energetically reached out to creative work on their land. But gradually a conflict of creative and dogmatic thinking is brewing, a confrontation between those who plow and sow, cut down huts, and those who are pseudo-revolutionary, demagogic and hide their social dependency under the cover of left-wing phrases. The unhurried outline of the chronicle explodes from the inside with the intensity of passions and contradictions.

In "Eves" human drama unfolds in its most immediate manifestations. The plot centers on the confrontation between two characters - Pavel Pachin and his “ideological” antagonist Ignakha Sopronov, in contrast to Ignakha, who is indifferent to the land, works at the limit of his capabilities, and at the same time he poetically, spiritually perceives the world around him. “Old fatigue of many days” does not prevent him from getting up at dawn and smiling at the rising sun. Hence the deep origins of his kindness, the ability to sympathize with his neighbor and the inspiration of his plan - to create a mill not for himself, but for the entire neighborhood. Working to the point of exhaustion at a construction site, Pachin draws here, “as if from a bottomless well,” new strength. However, a dark day comes in the guise of the zealous Ignakha: the silent mill, which has not yet put on its wings, will never be put into operation. Pavel Pachin is experiencing the bitterest of dramas - the drama of unrealized creative possibilities. The insightful wisdom of Nikita’s grandfather, who inspired Pavel in difficult moments, turns out to be powerless. Everything: the determination to go to the end, and the utmost dedication, and insight - crumbles to dust “from one piece of paper from Ignakha Sopronov.”

The orientation of people cut off from the earth toward “elevation” threatened to have unpleasant consequences in the future. This is precisely what is evidenced by the unfinished story of Commissioner Ignakha Sopronov, for whom the main thing is not work, not the respect of fellow villagers, but his position. And when it is not there, “anxiety and emptiness” remain. The epithet that is most often applied to Ignakh is empty (“It was strange and empty in my heart.” “...The clocks on the wall tapped empty seconds”). There is no position (for adventurism and arbitrariness he was removed from the post of secretary of the Olkhov party cell and expelled from the party) - and Sopronov is enveloped in a strange vacuum. After all, what Ignakha doesn’t like most of all is “tinkering in the ground.”

Although “Eves” centers on the life of the peasants in the Vologda village of Shibanikha, the novel is extremely multi-layered. The author’s field of view includes working-class Moscow of the late 20s, the rural intelligentsia, and the rural clergy. The artist’s searching thought does not stop at the topical socio-political problems of the era. The desire to comprehend the essence of conflicts and contradictions on a global scale caused the introduction into the structure of the novel of the image of a “masculine intellectual” from the nobility - Vladimir Sergeevich Prozorov. Prozorov's mature thoughts and speeches are directed against nihilistic acts, schematization and simplification in determining the future paths of Russia. He resolutely rejects the idea of indiscriminate destruction of everything old: “Russia is not a Phoenix. If it is destroyed, it will not be able to be reborn from the ashes..."

The novel is densely populated with episodic figures. And among them is a peasant from a distant village, Afrikan Drynov, in a “greasy, sweaty Budenovka”; Danila Pachin, ready to staunchly defend the pride of the working peasant; Akindin Sudeikin is a village wit and a tireless ditty-teller, a sort of distant descendant of buffoonish Rus'; the cunning and tight-fisted Bug; sedate Evgraf Mironov. In a word, in "Eves" for the first time, perhaps, such a unique scattering of original folk characters of the Russian North is captured in our prose.

Thus, “Eves” is based on a deep study of the history of our society of the 20s, and at the same time, the novel is addressed to the present and to the future, helping to draw significant moral and aesthetic lessons from the past. The completeness of the depiction of reality is in harmony in “Eves” with the richness and variety of artistic means. The art of socio-psychological analysis has been deepened, be it the rural world or the life of a Moscow communal apartment, the tireless work activity of a simple peasant or the contemplative and meditative lifestyle of a former nobleman. The resources of northern folklore and folk customs are used unusually widely: Christmastide, fortune telling, wedding rituals, tales, songs and ditties, legends and tales, games with mummers, impromptu performances. Old songs are sung during housework and in the fields, and sonorous ditties are sung at games and gatherings. The writer also does not ignore traditional beliefs: a brownie lives in the house, a bannushko lives in the bathhouse, and a barnushko lives in the barn.

4. “CITY PROSE” BY VASILIY BELOV AND THE PROBLEM OF REVIVAL OF THE LOST HARMONY OF THE SOUL IN THE BOOK “LAD”

belov spiritual urban prose

In the 70-80s - a time of search for a great epic form - the writer increasingly turned to the problems of urban life. The artist himself explained the motives for this evolution in one of his speeches: “I don’t think that there is any special rural theme in literature. There can be no special village theme; there is a universal, national theme. A real writer, writing mainly about the city, cannot avoid touching on the countryside, and conversely, writing mainly about the countryside, cannot do without the city.”

In the series of novels and short stories “My Life”, “Education According to Doctor Spock”, “Dating in the Morning”, “Chok-Chok-Chok” V. Belov explores the nature of a city dweller (often a former village resident who has left the rural outskirts forever). City life is subject to completely different regulations and routines. The lack of closeness to nature, the breakdown of established moral principles - all this does not pass without a trace. The separation of a person from the earth is sometimes dramatic and not painless. Confusion of the soul, a feeling of discord give rise to feelings of instability and disappointment.

The problem of lost and unrecovered harmony also affected the artist’s creative style. The characteristic features of Belov’s prose, emotionally rich and dense in its figurative fabric, trembled under the pressure of information content and descriptiveness. How can we explain this? The writer himself tried to answer this question: “For the harmonious development of personality, nature is necessary, which for me is associated with the village. In the city a person is deprived of nature. If nature is necessary, then sooner or later we will return to the village, because the city cannot give a person what the village can give. But even one village cannot give a person everything he needs. This is not only a complex social, but also a philosophical question.”

The greatness of the technical achievements of the scientific and technological revolution era cannot distract the artist’s gaze from the inevitable, but not inevitable, losses and damages. The writer resurrects on the pages of the book about folk aesthetics “Lad” (1981) the world of human relations, alien to the spirit of the ruinous pursuit of quantity to the detriment of quality and the environment itself. The book deals not only with what has passed or is leaving rural life, but also with those moral and aesthetic constants over which time has no power.

The book “Lad” is not only observations and reflections on agricultural aesthetic ideas, but also the identification of the ideological and aesthetic foundations of the artist’s work, first of all the principle of nationality. If in artistic prose V. Belov shows various facets of the Russian folk character, then in “Lada” those factors that historically participated in the formation of this character are traced. The author consistently explores the life of the Russian peasant from the cradle to the “grave grass”. V. Belov seeks to identify “the elusive transition from compulsory, generally accepted labor to creative labor.”

Whatever you take: plowing or laying out canvases for bleaching, blacksmithing or shoemaking - a sense of order and proportion prevailed everywhere. At the same time, everything was done consistently, gradually, which determined an important character feature. Neglect of the past always takes cruel revenge. And not so much, perhaps, for the current generations as for the future ones.

Thus, the book “Lad” gives beauty, without which the ethics of the future is unthinkable. The book was written in one breath: its research pathos is inspired by a lyrical and soulful beginning. Historical memory is an invaluable heritage. “Lad” is the “Red Book” of folk aesthetics, preserving the artistic memory of generations of peasants of the Russian North.

CONCLUSION

Vasily Belov began as a poet and as a prose writer. V. Belov's first story, written quite professionally, did not yet foreshadow the emergence of a significant artist. V. Belov’s short stories of the first half of the 60s spoke to the reader in an unexpectedly fresh and new way. The artistic palette is incomparably enriched. The writer becomes subject to intimate movements of the heart and lofty universal thoughts. Lyricism is complicated by a psychological element, and in the rendering of dramatic and even tragic collisions everything is determined by noble restraint.

V. Belov is interested not so much in the production biography as in the spiritual biography of the hero. Belov's heroes live difficult, sometimes dramatic lives. But they have neither mental nor physical breakdown. Belovsky’s hero is not a fighter, but he is not an “existent” either. The artist’s discovery is that he showed one of the typical manifestations of the Russian national character.

The transition to skaz can be explained by the desire for further democratization of prose, the desire, having overheard folk speech, to faithfully convey it. The novel “Eves” (1976) is V. Belov’s first performance in the genre of large epic form. The artist’s thoughts about the fate of the country and the peasantry, the ways in which folk culture is destined to develop, received in-depth justification here.

In the 70-80s - a time of search for a great epic form - the writer increasingly turned to the problems of urban life. The separation of a person from the earth is sometimes dramatic and not painless. Confusion of the soul, a feeling of discord give rise to feelings of instability and disappointment. The book “Lad” is not only observations and reflections on agricultural aesthetic ideas, but also an identification of the ideological and aesthetic foundations of the artist’s work, first of all, the principle of nationality.

LITERATURE

1.Belov, V. Eves. Novels and stories [Text] / V. Belov. - Ed. 2nd. - M.: Artist. lit., 1990. - 543 p.

.Ershov, L.F. V. Belov [Text] / L.F. Ershov // Ershov, L.F. History of Russian Soviet literature / L.F. Ershov. - Ed. 2nd, add. - M.: Higher. school, 1988. - pp. 473-487.

.Malgin, A. In search of “world evil” [Text] / A. Malgin // Literature and modernity: collection 24-25. Articles about literature 1986-1987. / Comp. And Kogan. - M.: Artist. lit., 1989. - pp. 267-299.

.Seleznev, Yu. Vasily Belov [Text] / Yu. Seleznev. - M.: Sov. Russia, 1983. - 144 p.

.Urnov, D. About near and far [Text] / D. Urnov // Literature and modernity: collection 24-25. Articles about literature 1986-1987. / Comp. And Kogan. - M.: Artist. lit., 1989. - pp. 249-266.

Vasily Belov

Chronicle novel of the late 20s

Part one

Well, and that side... Which, where is it?

Both of them constantly strived for battle.

We live beyond the Yenisei,
We don’t sow oats or rye,
We walk at night, we lie down during the day,
They coughed at the regime.

Well, well, give it back,” Nosopyr said peacefully. - Put it in place, to whom they say.

The moon was covered with a random cloud, and the dead yellow cloud also disappeared in the bathhouse. The heater had completely cooled down, it was cold, and Nosopyr was tired of waiting.

You're completely crazy! What a scoundrel, really. What? After all, I’m not young to indulge with you. Well, that's it.

The mower showed up at another bench. The old man picked up some splinters and wanted to light the heater, but now, right from under his hand, Bannushko stole the matches.

Well, wait a minute! - Nosopyr shook his fist into the darkness. - Get out if you want!..

But Bannushko continued to play tricks on his roommate, and Nosopyr stamped his foot.

Give me the matches, you fool!

There you go! Are you still going to squabble? You will be rude, boo...

Grandpa, grandpa!

But nothing!

Well, I have a lot of nothing at home.

Listening to himself, he drew out the last sound for a long time. Took a break. He turned the log onto the other side, untouched by the fire, and sang again in a recitative, without hesitation:

Rejoice at the door of the Lord, impenetrable, rejoice at the wall and cover of those who flow to you, rejoice at the storm-proof shelter and unartifacted, who gave birth to the flesh of your creator and pray to God, do not become impoverished from those who sing and bow to your Christmas!

Woohoo! - was heard behind the bath window. The kids were banging logs against the wall. He grabbed a poker to jump out into the cold, but changed his mind and lit some tobacco.

“Christmas time. On Christmastide, I used to tease the little boys. Let them run wild, I won’t go out again.”

The firewood was heated, it was necessary to close the pipe. Nosopir put on his shoes, pulled his hat down on his head, took the bag with the red cross from the perch and called out to Bannashka:

Go, go, don’t sin... Go upstairs, fool, sit in the warmth. I'll go for a walk, no one will touch you.