Characteristics of the heroes of the last term. Analysis "Deadline" Rasputin

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Tale " Deadline»

The story "The Deadline", which Rasputin himself called the main of his books, touched on many moral problems and vices of society.

The story is about life and death. Nature provides for it in such a way that the decisive fact of life - the birth of a person - forever remains secret and unknown to him: no one knows and does not remember his birth, does not know and does not remember his early infancy, death is a conscious fact.

Almost every adult, especially an elderly person, at least once looked into the face of his death, felt its obvious closeness under some extreme circumstances. And if a person cannot apply birth to himself, then alien death is applicable to each of us ... Few have traced it so carefully over many pages, as Rasputin did in The Deadline.

“The old woman Anna lay on a narrow iron bed near the Russian stove and waited for death, the time for which had already come, the old woman was close to eighty,” the story begins. "In the night the old woman died" - so it ends.

The main thing actor story - the old woman Anna. She was already eighty years old. The only goal left in her life is to see all her children before her death and clear conscience go to that world. Anna is not afraid to die, moreover, she is ready for this last step, because she is already tired, she feels that she has “been exhausted to the very bottom, boiled away to the last drop” (“Eighty years, apparently, is still a lot for one person if she worn out to the point that now you just take it and throw it away ...”). And no wonder that she was tired - her whole life was running, on her feet, in work, in worries: children, a house, a garden, a field, a collective farm ...

And now the time has come when there was no strength left at all, except to say goodbye to the children. Anna could not imagine how she could leave forever without seeing them, without saying farewell words to them, without finally hearing their native voices.

Anna's children are typical representatives modern society, busy people who have a family, a job, but remembering their mother, for some reason very rarely. Their mother suffered a lot and missed them, and when the time came to die, only for the sake of them she remained for a few more days in this world and she would have lived as long as she wanted, if only they were near.

“In her life, the old woman gave birth to many, but now she has only five survivors. It turned out so because at first death got into the habit of going to their family, like a ferret to a chicken coop, then the war began. But five survived: three daughters and two sons. One daughter lived in the region, the other in the city, and the third and very far away - in Kiev. The eldest son from the north, where he remained after the army, also moved to the city, and the youngest, Mikhail, who alone of all did not leave the village, had an old woman and lived out her life ... "

It was he, Mikhail, who informed everyone by telegrams that his mother was bad and that they should come: you never know what could happen.

And they came - to bury: Varvara, Ilya and Lucy tuned in just for this, temporarily dressing their thoughts in clothes appropriate for the occasion and covering the mirrors of the soul with the dark fabric of the upcoming parting. Each of them, of course, loved his mother in his own way, but they all equally lost the habit of her, separated long ago, and what connected them with her and with each other has already turned into something conventional, accepted by the mind, but not touching the soul. They were obliged to come to the funeral, and they fulfilled this obligation.

But Anna, being “either at the very end of life, or at the very beginning of death,” was waiting for them alive; Because and lived still, that waited. She set a deadline for herself, and her body, following the last will and knowing that to wait is the only effort that is now required of it, it is not known where it drew the energy needed only for breathing and for the intermittent work of thought. All the main thing for which it was created and existed, “if a person comes into the world for this, so that the world will never become poor without people and never grow old without children”, was fulfilled long ago. The children, with the exception of Tatyana, who lives far away, have arrived, gathered, and are waiting.

Old Anna lies motionless, without opening her eyes; she almost froze, but life is still glimmering. Daughters understand this by raising a piece to their lips broken mirror. It fogs up, so mom is still alive. However, Varvara, one of Anna's daughters, considers it possible already to mourn, "to rebuke her", which she selflessly does first at the bedside, then at the table, "where it is more convenient." Daughter Lyusya at this time sews a mourning dress tailored back in the city. Sewing machine chirps to the beat of Barbarian sobs.

And Anna, already with one foot in the other world, managed to find the strength in herself to be reborn, to flourish, and all for the sake of her children. “By a miracle it happened or not by a miracle, no one will say, only when she saw her guys, the old woman began to come to life.”

And what are they - children? And they solve their problems, and it seems that their mother does not really care, and if they are interested in her, it's only for decency. And they all live only for decency. Do not offend anyone, do not scold, do not say too much - all for decency, so as not worse than others. Gathering around the old woman on the morning of the day following the arrival, the children, seeing their mother revived, do not know how to react to her strange rebirth.

Each of them goes about his own business in difficult days for the mother, and the state of the mother worries them little. Mikhail and Ilya fell into drunkenness, Lusya walks, Varvara solves her problems, and none of them came up with the idea of giving their mother more time, talking to her, just sitting next to them. All their concern for their mother began and ended with the "semolina porridge", which they all rushed to cook. Everyone gave advice, criticized others, but no one did anything himself. From the very first meeting of these people, disputes and abuse begin between them. And so the days passed: constant arguments and swearing, resentment against each other and drunkenness.

Anna was waiting for the children, feeling an urgent inner need to bless them on a further path in life; the children hurried to her, striving to fulfill their external duty as carefully as possible. Invisible and, perhaps, even unconscious in its entirety, this conflict of worldview in the story finds its expression, first of all, in the system of images. It is not given to children who have grown up to understand the tragedy of the fracture revealed by them and the impending break - so what can you do if it is not given? Rasputin finds out why it happened, why are they like that?

“Mikhail and Ilya, having brought vodka, now did not know what to do with them: everything else seemed trifles compared to this, they toiled, as if passing every minute through themselves.” Having huddled in the barn, they get drunk almost without a snack, except for the products that Mikhail Ninka's little daughter carries for them. This causes a legitimate female gay, but the first shots of vodka give the peasants a feeling of a genuine holiday. After all, the mother is alive. Ignoring the girl collecting empty and unfinished bottles, they no longer understand what thought they want to drown out this time, maybe it's fear. “The fear from the consciousness that the mother is about to die is not like all the previous fears that fall to them in life, because this fear is the worst of all, it comes from death ... It seemed that death had already noticed them all in the face and no longer will forget."

Having drunk thoroughly and feeling the next day as if they had been passed through a meat grinder, Mikhail and Ilya thoroughly get drunk the next day. “But how not to drink? says Michael. - Laziness, the second, let even a week - it is still possible. What if you don't drink until you die? Just think, there is nothing ahead. All the same. How many ropes hold us both at work and at home, that you can’t gasp, so much you had to do and didn’t do, everything must, must, must, must, and the farther, the more you must - it’s all gone to hell. And I drank, as soon as I got free, I did everything that was necessary. And what he didn’t do, he shouldn’t have done, and he did the right thing, what he didn’t do. This does not mean that Mikhail and Ilya do not know how to work and have never known any other joy, except from drunkenness. In the village where they once lived together, it happened general work- “friendly, inveterate, sonorous, with a dissonance of saws and axes, with a desperate hoot of fallen woods, echoing in the soul with enthusiastic anxiety with the obligatory joking with each other. Such work happens once during the firewood harvesting season - in the spring, so that they have time to dry over the summer, yellow pine logs, pleasant to the eye, with a thin silky skin, lie down in neat woodpile. These Sundays are organized for themselves, one family helps another, which is still possible now. But the collective farm in the village is falling apart, people are leaving for the city, there is no one to feed and raise livestock.

Remembering her former life, the townswoman Lusya with great warmth and joy imagines her beloved horse Igrenka, on which “slap a mosquito, it will fall down”, which in the end happened: the horse died. Igren dragged a lot, but did not manage. Wandering around the village through the fields and arable land, Lucy realizes that she does not choose where she should go, that she is directed by some outsider who lives in these places and professes her power. ... It seemed that life came back, because she, Lucy, forgot something here, lost something very valuable and necessary for her, without which it is impossible ...

While the children drink and reminisce, the old woman Anna, having eaten the children's semolina porridge specially cooked for her, cheers up even more and goes out onto the porch. She is hung by a long-awaited friend Mironikha. “Ochi-mochi! Are you, old woman, alive? Mironikha says. “Why doesn’t death take you? .. I’m going to her wake, I think she chided like a kind one, but she’s still here.”

Anna grieves that Tatyana, Tanchora, as she calls her, is not among the children gathered at her bedside. Tanchora was not like any of the sisters. She stood as if between them with her special character, soft and joyful, human. The old woman was waiting for her daughter to arrive, but she, unfortunately, did not come, and then “something suddenly broke in the old woman, something burst with a short groan.” Of all the children, only Michael was able to understand what was happening with his mother, and he took sin upon his soul. “Your Tanchora will not arrive, and there is nothing to wait for her. I beat off a telegram to her so that she would not come, ”overpowering himself, he puts an end to it. And this act of his cruel mercy is worth hundreds of unnecessary words.

So without waiting for her daughter, the old woman decides to die. Anna prayed: “Lord, let me go, I will go. Send my death to the mine, I'm ready. She had nothing more to do in this world and there was no need to postpone death. While the guys are here, let them bury, carry out, as usual with people, so that another time they do not return to this concern. Then, you see, Tanchora will come ...

The old woman thought about death many times and knew it as herself. She imagined her own death, the “mortal mother”, as the same ancient, emaciated old woman. In recent years, they have become friends, the old woman often talked to her, and death, sitting somewhere on the sidelines, listened to her reasonable whisper and sighed understandingly. They agreed that the old woman would leave at night, first fall asleep, like all people, so as not to frighten death with open eyes, then she would gently snuggle up, take off her short worldly sleep and give her eternal rest. That's how it all comes out.

Own care Rasputin's heroine sees into the "far side" with amazing poetic clarity, in all its stages and details. Leaving, Anna remembers her children in those moments when they expressed all the best in themselves: young Ilya very seriously, with faith, accepts a mother's blessing before leaving for the front; Varvara, who grew up to be such a whiny, unhappy woman, is seen in early childhood digging a hole in the ground just to see what is in it, “looking for what no one else knows in her”, Lucy desperately, with her whole being, rushes from the departing steamer towards mother, leaving home; Michael, stunned by the birth of his first child, is suddenly pierced by an understanding of the unbreakable chain of generations in which he threw on a “new ring”.

And Anna remembered herself at the most wonderful moment of her life: “She is not an old woman - no, she is still a girl, and everything around her is young, bright, beautiful. She wanders along the shore along the warm, steamy river after the rain ... And it’s so good, happy for her to live at this moment in the world, to look with her own eyes at its beauty, to be in the midst of a stormy and joyful, consonant in everything action eternal life that she is dizzy from this and sweetly, excitedly whines in her chest.

Having told about the life and death of a simple Russian woman, the writer brought us closer to the discreet luminous beauty from within the Russian folk character. Anna dies long and hard. The forces either completely leave her, then suddenly return again, having deceived, at least for a short time, death standing by the bed. During this period, her past and present arise in Anna's mind, her whole life passes before us, the life of a person with a deeply individual and at the same time so typical of her generation, for the entire post-revolutionary peasantry, the female fate.

In Anna's internal monologues, in her continuous thoughts, when every judgment, every scene is as if washed by the purity and disinterestedness of the last, dying feeling, the voice of wisdom, kindness and forgiveness is heard here - especially when three of the children leave their mother on the very eve of her death. .. Yes, forgiveness and hope, suffered own life, which came to an end and in which there was everything: birth and death, separation, joy, letters, expectations and meetings. Everyday and forever poetic work that created everything around her...

Having set a philosophical mood from the very beginning of the work, communicated by the mere presence of death next to a person, Valentin Rasputin, without lowering this level when it comes to not about Anna, but, perhaps, drawing subtle psychologism from philosophical richness, creates portraits of children old women, with each new page bringing them to filigree. One gets the impression that with this scrupulous work, with this recreation of the smallest details of their faces and characters, he delays the death of the old woman in itself: she cannot die until the reader sees with her own eyes, to the last wrinkle, those whom she gave birth to, whom she was proud of. who, finally, remains instead of her on Earth and will continue her in time. So they coexist in the story, Anna's thoughts and the actions of her children, now - occasionally - approaching, almost to the point of contact, then - more often - diverging to invisible distances. The tragedy is not that they do not understand it, but that it never occurs to them that they really do not understand.

Not for the sake of the death of the old woman Anna, the story “The Deadline” was written, but for the sake of the living, this long death was needed to fully show the characters of each of Anna’s children, each of the living surrounded by the dying. And the vicissitudes of death are the vicissitudes of their lives, their relationship to each other.

In this story, Rasputin very well showed the relationship modern family and their shortcomings, which are clearly manifested at critical moments, revealed the moral problems of society, showed the callousness and selfishness of people, their loss of all respect and an ordinary feeling of love for each other. They, native people, are mired in anger and envy. They care only about their own interests, problems, only their own affairs. They do not find time even for close and dear people: they did not find time for their mother - herself native person.

The plot of the story “The Deadline” is simple: Mikhail, the son of the old woman Anna, who has not been getting up for a long time, dried up, only reminding her with her breath that she is still alive, calls her relatives by telegram. A large family is gathering: sons, daughters, themselves already elderly, who have become parents. They are waiting for their delayed sister Tatyana and, afraid to admit it to themselves, are waiting for their mother's death. And this painful expectation reveals everyone. The children of the old woman Anna - Ilya, Lyusya, Varvara - who arrived on a ride from a neighboring village, and who are hundreds of kilometers away on a steamboat and plane, involuntarily want everything to happen as soon as possible. They themselves, embarrassed of themselves and their expectations, explain that they have been torn away from their affairs and from work, because they have arrived “in a not passing light”), they have fulfilled their duties. The death of the mother as a tragedy is perceived only by the author, the characters are deprived of this. Here the eldest, Varvara, “opened the gate, saw no one in the yard, and immediately, as she turned on herself, began to wail:

“You are my mother-a-a-!”

And then Rasputin will add: "Varvara got up and went to the table to cry - where it is more convenient." No, she is not soulless, not callous, she "sobbed for a long time, banging her head on the table, burst into tears and could not stop." But the author, parallel to this picture of crying (rather ritualistic, ceremonial) gives his perception through the eyes of a child. Five-year-old Ninka, Mikhail's daughter, still does not understand what is happening, she "bent down to look why Varvara's tears do not run to the floor." The child in Russian literature is a special, symbolic image. This is that pure, angelic soul, which is given to see or feel the truth or carry it to other heroes. There is a feeling that this five-year-old Ninka saw (and we felt it with her help) something fearless, unnatural in Varvara's lamentations.

Anna herself is not afraid of death, she is even angry when once again “the injections of the paramedic, whom Ninka ran after, got her from the other world.” She lamented, begged her granddaughter:

“How many times have I told you: don’t touch me, let me go away on my own ... Don’t run after her anymore, don’t run ... hide behind the bathhouse, wait, then say: she’s not at home.

And the grandmother artlessly finished the instructions to her granddaughter:

- I'll give you candy for this - such a sweet one.

By conveying Anna's unhurried, lingering thoughts, her memories, Rasputin builds a simple story of her life. And she lived just like a river runs: she worked, raised children, years flew by one after another ... and it was the same with her mother, and with her mother's mother ... ? Or that very natural, harmonious connection of life with the eternal movement of nature, merging with the world, when your place in this eternal cycle does not require awareness? Because it's yours? Anna herself, reflecting, believes that good life lived, and we understand where she got this feeling from: she has somewhere to go and there is someone to leave. Her life is seen as a link in an endless chain of being, and therefore, having fulfilled what was intended (she was a worker, wife and mother) by her nature and the universe itself, she will merge with this eternal order and peace. Not scary!

But the children do not know what to do, and this confusion, the author argues, is not from fear of losing their mother, but because they are torn out of the eternal circle of habitual worries and troubles, and they don’t know what to do in the face of such a phenomenon of the world. And if we feel that the author draws with undoubted respect last days old woman Anna and her thoughts, then the behavior of children is perceived as false (the word “vain” is asked). Moreover, we feel more and more acutely that this vanity stands out in those heroes who have broken with the village (and with their mother too). This is how the theme of mother and mother nature arises in the story, a break with which is tragic for a person. We see this most sharply in the image of Lucy (and I will remind you once again that for Russian literature, it was the female heroines who were the bearers of special, very important traits that convey the spiritual warehouse, the highest values of the national character, and Rasputin picks up this tradition). The city has left a seal on Lucy at all: in character, in behavior, in the way of thinking, habits. Everything about her is unnatural, unnatural. So the mother asked for food, for the first time in several days she swallows thin porridge, and the daughter does not find other words than dull official ones:

- Now the stomach can not be overloaded.

Let him digest it first...

And her letters from the city?! “Tell mom that medicines help with any illness at any age ... Make sure that mom dresses better in winter ... " It seems to be care, attention, but what formality emanates from these common truths! Who does not know that medicines cure, and it is cold in winter? And with her sister Lyusya speaks in the same official way: “It has become absolutely impossible to talk with you, Varvara. Don’t forget, please, we are also old enough and probably understand what we are doing.” Varvara is offended - the city sister became proud, but Rasputin is convinced that the matter is completely different. Lucy is already different, a stranger to this world, where everything is simple and wise, and now she lives not with her soul, but with some other rules. Rasputin gives Lucy a chance to return to the world of natural feelings and natural words, when she recalls her childhood, berry places, Larch Island, mushrooms ... “Do you remember how mother sent us all to pick wild onions across the Upper River? We'll all get wet, we'll get wet until we've got it. And we also competed to see who would get the most. “Left in the forest, alone with herself, with her memory, Lucy will suddenly stop, as if trying to return something very important, it will seem that a little more, and she will open her soul to that natural that is about to embrace her, she will understand something then in the surging feelings, she will sort out the memories ... But Lucy's life is meaningless.

The author prepares an unexpected plot twist. Children expect grief, listen to their mother's breathing, Varvara cries and cries, Lucy brings a mirror to her dying lips - is there breath ... And the mother opens her eyes, asks for porridge, the one "that she cooked for little Ninka", and then she gets up, leaves the hut, and Lusya sews a black mourning dress at night, and the brothers have already bought a box of vodka for a wake, and the writer shows how this vodka helps to find a way out of an awkward situation: they were preparing to drink for the dead, now they decided to be healthy! At first, the men hid in the bathhouse, and then, having grown bolder, they would come out into the yard, because it’s joy! And these scenes, frankly comical, especially the genuine horror of Mikhail, who found out that the silly daughter almost took bottles to the store in order to turn them in and buy sweets with the proceeds, these funny events accumulate imperceptibly, as if something unpleasant is about to increase, pump up anxiety, shame, unworthy of a man- and so commonplace. This is vanity, that petty vanity of life, which obviously bears the veil of vulgarity, some kind of moral deafness. And it’s not even about the sons’ drunkenness, not about the scandal that will flare up at the mother’s bedside, not about the senseless, empty bickering of brothers and sisters ... The children will sound cheerful and such false words who need to leave, no matter how the mother begs. For some reason, the words that the children of their mother will say on the threshold of their home will seem terrible:

“And don’t be offended by us. So it is necessary.

Yes, it is necessary, only not according to human rules, but according to the same law of vanity, which has broken, rebuilt the souls of children for itself. Mother lives differently. Until now, she executes herself for being guilty in front of the children. During the famine, when little Varvara was dying, her mother secretly milked Zorka, her former cow, now a collective farm cow. It was with this milk that my daughter came out, but she still cannot forgive herself this sin (she took someone else's!) She even sincerely believes that Varvara's failed life - she was in trouble with her husband, the daughter of a badass - these are traces of that ancient sin, and she executes herself. Children are different: they firmly know that they live correctly. And only one person in the house, the youngest son Mikhail, who drinks, is unlucky, suddenly feels something very important and says, left alone with his mother:

- Do not be angry at me. Of course, I'm a fool... Don't be too angry with me. I was a fool.

And after the departure of the city guests, the granddaughter, five-year-old Ninka, will approach her grandmother, and, as if understanding something, having felt, she will put her greatest value in her hand - candy, and the old woman's lips will move in a smile. The old, the young and the fool stayed together, while the smart, educated, cultured left without understanding anything. But we understand how important it is for Rasputin to show that everything that makes a person truly a person is still alive, alive in the heart, but only in one that can empathize, sympathize, perceive someone else's misfortune as sharply as one's own. But this ability, according to Rasputin, is lost by those who break the spiritual connection with the earth, with nature, with natural life. This is how “Deadline” ends: “The old woman listened without answering and no longer knew whether she could answer or not. She wanted to sleep. Her eyes closed. Until evening, before dark, she opened them several more times, but not for long, just to remember where she was. No epithets, no dialectisms, vernaculars reproducing Anna's dialect, no complex syntax, no branched constructions. Rasputin uses the simplest linguistic means to talk about the death of the old woman Anna, realizing that any complication of the phrase, embellishment in such a situation would be a deviation from artistic taste, from the truth, even some kind of blasphemy. The last sentence of the story will be extremely simple: "The old woman died at night." As simply as she lived, in that great naturalness) which alone preserves a person and which turned out to be inaccessible to her children, who have been torn off the earth, from the soil) on which all living things feed. They broke away from their mother, but at the same time from mother earth, from maternal roots.

Deadline Analysis of the work of Rasputin

5 (100%) 1 vote

Writing

The problem of morality in our time has become especially relevant. In our society, there is a need to talk and think about the changing human psychology, about the relationship between people, about the meaning of life, which the heroes and heroines of stories and stories so tirelessly and so painfully comprehend. Now at every step we encounter the loss of human qualities: conscience, duty, mercy, kindness. In the works of Rasputin, we find situations close to modern life, and they help us understand the complexity of this problem. The works of V. Rasputin consist of "living thoughts", and we must be able to understand them, if only because for us it is more important than for the writer himself, because the future of society and each person individually depends on us.

The story "The Deadline", which V. Rasputin himself called the main of his books, touched on many moral problems, exposed the vices of society. In the work, V. Rasputin showed relationships within the family, raised the problem of respect for parents, which is very relevant in our time, revealed and showed the main wound of our time - alcoholism, raised the question of conscience and honor, which affected each hero of the story. The main character of the story is the old woman Anna, who lived with her son Mikhail. She was eighty years old. The only goal left in her life is to see all her children before her death and go to the next world with a clear conscience. Anna had many children. They all dispersed, but fate was pleased to bring them all together at a time when the mother was dying. Anna's children are typical representatives of modern society, people who are busy, have a family, a job, but for some reason very rarely remember their mother. Their mother suffered a lot and missed them, and when the time came to die, only for the sake of them she remained for a few more days in this world and she would have lived as long as she wanted, if only they were near. And she, already with one foot in the other world, managed to find the strength in herself to be reborn, to flourish, and all for the sake of her children. And what are they. And they solve their problems, and it seems that their mother does not really care, and if they are interested in her, it's only for decency.

And they all live only for decency. Do not offend anyone, do not scold, do not say too much - all for decency, so as not worse than others. Each of them goes about his own business in difficult days for the mother, and the state of the mother worries them little. Mikhail and Ilya fell into drunkenness, Lusya walks, Varvara solves her problems, and none of them came up with the idea of giving their mother more time, talking to her, just sitting next to them. All their concern for their mother began and ended with the "semolina porridge", which they all rushed to cook. Everyone gave advice, criticized others, but no one did anything himself. From the very first meeting of these people, disputes and abuse begin between them. Lusya, as if nothing had happened, sat down to sew a dress, the men got drunk, and Varvara was even afraid to stay with her mother. And so the days passed: constant arguments and swearing, resentment against each other and drunkenness. This is how the children saw off their mother on her last journey, this is how they took care of her, this is how they cherished and loved her. They did not imbue the mother's state of mind, did not understand her, they only saw that she was getting better, that they had a family and a job, and that they needed to return home as soon as possible. They could not even say goodbye to their mother properly. Her children missed the “deadline” to fix something, ask for forgiveness, just be together, because now they are unlikely to get together again.

In this story, Rasputin very well showed the relationship of the modern family and their shortcomings, which are clearly manifested at critical moments, revealed the moral problems of society, showed the callousness and selfishness of people, their loss of all respect and the usual feeling of love for each other. They, native people, are mired in anger and envy. They care only about their own interests, problems, only their own affairs. They do not even find time for close and dear people. They did not find time for the mother - the dearest person. For them, “I” comes first, and then everything else. Rasputin showed the impoverishment of morality modern people and its consequences. The story "The Deadline", on which V. Rasputin began working in 1969, was first published in the magazine "Our Contemporary", in numbers 7, 8 for 1970. She not only continued and developed best traditions Russian literature - primarily the traditions of Tolstoy and Dostoevsky - but also imparted a powerful new impetus to the development of modern literature, setting it on a high artistic and philosophical level.

The story immediately came out as a book in several publishing houses, was translated into other languages, published abroad - in Prague, Bucharest, Milan. The play "Deadline" was staged in Moscow (at the Moscow Art Theater) and in Bulgaria. The glory brought to the writer by the first story was firmly fixed. The composition of any work by V. Rasputin, the selection of details, visual means help to see the image of the author - our contemporary, citizen and philosopher.

One of the most famous contemporary Russian writers is Valentin Rasputin. I have read many of his works, and they attracted me with their simplicity and sincerity. In my opinion, among the defining life impressions of Rasputin, one of the strongest was the impression of ordinary Siberian women, especially old women. Many things attracted them: calm strength of character and inner dignity, selflessness in hard village work and the ability to understand and forgive others.

Such is Anna in the story Deadline. The situation in the story is set immediately: an eighty-year old woman dies. It seemed to me that life, introduced by Rasputin in his stories, is always taken at the moment of a breakthrough in its natural course, when a big misfortune suddenly looms with inevitability. It seems as if the spirit of death is hovering over Rasputin's heroes. Almost only the old tofamarka from the story And ten graves in the taiga thinks about death. Aunt Natalya is ready for a date with death in the story Money for Mary. Young Leshka dies in the arms of friends (I forgot to ask Leshka ...). A boy accidentally dies from an old mine (There, on the edge of the ravine). Anna in the story The Last Term is not afraid to die, she is ready for this last step, because she is already tired, she feels that she has become exhausted to the very bottom, boiled away to the last drop. All my life is running, on my feet, in work, worries: children, house, garden, field, collective farm ... And now the time has come when there is absolutely no strength left, except to say goodbye to the children. Anna could not imagine how she could leave forever without seeing them, without finally hearing her native voices. During her life, the old woman gave birth to many, but now she has only five survivors. It turned out so because at first death got into the habit of going to their family, like a ferret to a chicken coop, then the war began. The children dispersed, they were strangers, and only the imminent death of their mother makes them get together after a long separation. In the face of death, not only the spiritual depth of a simple Russian peasant woman is revealed, but also the faces and characters of her children appear before us in a revealing light.

Anna's character fascinates me. In my opinion, it preserved the unshakable foundations of truth and conscience. There are more strings in the soul of an illiterate old woman than in the soul of her urban children who have seen the world. There are also such heroes in Rasputin, who, perhaps, have a little of these strings in their souls, but they sound strong and pure (for example, the old tofamark woman from the story A Man from This World). Anna and, perhaps, to an even greater extent Daria from the story Money for Mary, by the richness and sensitivity of spiritual life, by the mind and knowledge of a person, can be compared with many heroes of world and Russian literature.

Take a look from the side: a useless old woman is living her life, she almost doesn’t get up for her last years, why should she live on, but the writer describes her to us in such a way that we see how in these last, seemingly completely worthless years, months, days, hours , minutes in it is intense spiritual work. Through her eyes we see and evaluate her children. These are loving and pitying eyes, but they accurately notice the essence of change. Most clearly, the change of face is visible in the guise of Ilya's eldest son: Next to his bare head, his face seemed fake, drawn, as if Ilya had sold his own or lost it at cards to a stranger. In him, the mother either finds familiar features, then loses them.

But the middle daughter Lyusya became all city, from head to toe, she was born from an old woman, and not from some city woman, probably by mistake, but then she found her own anyway. It seems to me that she has already been completely reborn to the last cell, as if she had neither childhood nor rural youth. She is jarred by the manners and language of the village sister Varvara and brother Mikhail, their indelicacy. I remember one scene when Lucy was about to take a health walk on fresh air. A picture of her once native places appeared before her eyes, which painfully struck the woman: an abandoned, neglected land was spread out before her, everything that was once well-groomed, brought into an expedient order by the loving labor of human hands, now converged in one strange wide desolation. Lucy understands that she was tormented by some kind of silent long-standing guilt, for which she will have to answer. Here is her fault: she completely forgot everything that happened to her here. After all, she was given to know both the joyful dissolution in her native nature, and the daily example of a mother who felt a deep kinship with everything living (it was not without reason that Luce remembered the case when her mother affectionately, like a native person, raised the horse Igrenka, hopelessly fallen behind plowing, completely exhausted), remembered it and the terrible consequences of national tragedies: a split, struggle, war (an episode with a driven, brutalized Bandera).
Of all Anna's children, I liked Michael the most. He stayed in the village, and Anna lives out her life with him. Mikhail is simpler, ruder than her city children, he has more bumps with pretensions and pours on him, but in fact he is more cordial and deeper than the others, not like Ilya, he rolls through life like a cheerful bun, trying not to touch any corners.

Magnificent in the story are two chapters about how, having bought two cases of vodka for the supposed commemoration, the brothers, overjoyed that their mother suddenly miraculously passed away from death, began to drink them, first alone, and then with their friend Stepan. Vodka is like an animated being, and, as with an evil, capricious ruler, one must be able to handle it with the least loss for oneself: one must take it in fear, ... I do not respect drinking it alone. She then, cholera, is meaner. The highest moment in the life of many, especially men, alas, was drinking. Behind all the colorful scenes, behind the picaresque stories of drunkards (here is the story of Stepan, who twisted his mother-in-law around his finger, made his way into the underground for moonshine), behind comical conversations (say, about the difference between a woman and a woman) there is a real social, folk evil. Mikhail spoke about the reasons for drunkenness: Life is now completely different, everything, read it, has changed, and they, these changes, demanded supplements from a person ... The body demanded rest. It's not me drinking, it's him drinking. Let's get back to the main character of the story. In my opinion, the old woman Anna embodied everything the best sides primordially Siberian character and perseverance in the execution of everyday affairs, in firmness and pride. In the last chapters of the story, Rasputin focuses entirely on his main character and the final segment of her life. Here the writer introduces us to the very depths of maternal feelings for the last, most beloved and closest child to her, daughter Tanchora. The old woman was waiting for the arrival of her daughter, but, unfortunately, she did not come, and then something suddenly broke in the old woman, something burst with a short groan. Of all the children again, only Michael was able to understand what was happening with his mother, and he again took sin upon his soul. Your Tanchora will not arrive, and there is nothing to wait for her. I beat off a telegram for her not to come, overpowering himself, he puts an end to it. It seems to me that this act of his cruel mercy is worth hundreds of unnecessary words.

Under the pressure of all the misfortunes, Anna prayed: Lord, let me go, I will go. Send my death to the mine, I'm ready. She imagined her death, mother-death, as an ancient, emaciated old woman. Rasputin's heroine foresees her own departure to the far side with amazing poetic clarity, in all its stages and details.

Leaving, Anna remembers her children in those moments when they expressed all the best in themselves: young Ilya very seriously, with faith, accepts a mother's blessing before leaving for the front; Barbara, who grew up to be such a whiny, unhappy woman, is seen in early childhood digging a hole in the ground just to see, and what is in it, looking for what no one else knows in her, Lucy desperately, with her whole being, rushes from the departing steamer to meet her mother, leaving home; Michael, stunned by the birth of his first child, is suddenly pierced by an understanding of the unbreakable chain of generations in which he put on a new ring. And Anna remembered herself at the most wonderful moment of her life: She is not an old woman, she is still a girl, and everything around her is young, bright, beautiful. She wanders along the shore along the warm, steamy river after the rain ... And it’s so good, happy for her to live at this moment in the world, to look with her own eyes at its beauty, to be in the midst of a stormy and joyful, consonant in everything action of eternal life that she is spinning head and sweetly, excitedly whine in the chest.

When Anna dies, the children literally leave her. Varvara, referring to the fact that she left the guys alone, leaves, and Lusya and Ilya do not at all explain the reasons for their flight. When the mother asks them to stay, her last request goes unheeded. In my opinion, neither Varvara, nor Ilya, nor Lucy will pass this in vain. It seems to me that this was the last of the last terms for them. Alas…

The old woman died during the night.

Thanks to the works of Rasputin, I was able to find answers to many questions. This writer remained in my mind one of the best, leading contemporary prose writers. Please don't pass by his books, take them off the shelf, ask in the library and read slowly, slowly, with thought.

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Introduction

1. Creative biography Valentina Rasputina

2. The story "Deadline"

Conclusion

List of used literature

Introduction

Valentin Rasputin is known primarily as an author who writes about the countryside and villagers. Drama and sharpness of ethical problems, the search for support in the world of folk peasant morality - all this is in the stories and stories about modern rural life. Among his best works are the stories "Money for Mary", "Deadline", "Farewell to Matera", "Live and Remember", "Live for a century - love a century", "Fire".

In the works of Rasputin, we find situations close to modern life, and they help us understand the complexity of this problem. His works consist of "living thoughts" and we must be able to understand them, because the future of society and each person individually depends on us.

The story "Deadline", on which V. Rasputin began to work in 1969, was first published in the journal "Our Contemporary". She not only continued and developed the best traditions of Russian literature - primarily the traditions of Tolstoy and Dostoevsky - but also gave a new powerful impetus to the development of modern literature, setting her a high artistic and philosophical level. The story was immediately published as a book in several publishing houses, was translated into other languages, and published abroad.

The name of Valentin Rasputin is known to the entire reading world. His works are distinguished by the strength and depth of the image of life, the brightness of the characters, the severity of the problems posed.

The purpose of this work: to comprehend and analyze the story of Valentin Rasputin "The Deadline".

The work consists of an introduction, 2 chapters, a conclusion and a list of references. The total amount of work is 16 pages.

1. Creative biography of Valentin Rasputin

Rasputin Valentin Grigorievich - Russian writer, was born on March 15, 1937 in the village of Ust-Uda, Irkutsk region, into a peasant family. The writer's childhood passed in the village of Atalanka on the banks of the Angara.

Rasputin's biography is in his work: both the writer's genealogy and the whole history of the Angarsk village where he was born are given here. Home and Peace. Natives from the Russian north, from the Murmansk regions, and another branch from the Arkhangelsk, founded two villages on the Angara, but now there is not one left, both have sunk to the bottom. Not every generation has to go through the destruction of the cradle in which its spiritual being was formed. Therefore, the pictures of nature in the works of Rasputin are filled with mystical meaning: "... What a huge heart can accommodate such a scale of national misfortune."

From there, from the banks of the Angara and the main characters of the writer. The paternal grandfather, in whom an admixture of the indigenous Siberian breed was visible, a sort of Tunguska, and the grandmother with her purely Russian, gleeful face, dryish and elongated, is the story "Vasily and Vasilisa". Even grandmother Marya Gerasimovna is known to us under the names of the old women Anna and Daria. The unfair fate of his father, who suffered because of a bag with government money stolen from him. Great patience of a mother. All this is also in the books of Rasputin.

Was the boy's giftedness revealed in early childhood?

The boy's mother saw and understood this giftedness if she decided to teach her son further - with three children and fatherlessness.

Uncle Vanya, the driver who brought the boy to Ust-Uda district center, also saw: “... We are a guy, we will not let you go to waste.”

They also saw fellow countrymen in the villages through which the boy ran fifty kilometers home on vacation - they called out and vied with each other to drink tea.

After school, Rasputin entered the Faculty of History and Philology of Irkutsk University. Already in his student years he became a freelance correspondent for a youth newspaper. One of his essays caught the attention of the editor. Later, this essay, under the title "I forgot to ask Leshka," was published in the Angara anthology in 1961.

After graduating from Rasputin University in 1959 - before becoming a professional writer - he worked as a journalist in the newspaper "Soviet Youth", an editor at the Irkutsk television studio, in the newspapers of Irkutsk and Krasnoyarsk; often visited the construction of the Krasnoyarsk hydroelectric power station and the Abakan-Taishet highway. As a traveling correspondent, he traveled on foot and traveled the interfluve of the Yenisei, Angara and Lena. Essays and stories about what he saw were later included in his collections Campfire New Cities and The Land Near the Sky.

In 1965, Rasputin participated in the Chita seminar of young writers of Siberia, where he showed several new stories to V. Chivilikhin, who became " godfather»novice prose writer. In 1966, Rasputin leaves for professional literary work. In 1967 he joined the Writers' Union of the USSR.

Starting with taiga romance, with the poeticization of strong characters in their mysterious unity with nature, in the struggle with it, Rasputin moved on to works in which attention to the spiritual world of man prevails.

Rasputin's first book of short stories, A Man From This World, was published in 1967 in Krasnoyarsk. In the same year, the story "Money for Mary" was published. But the writer's talent was revealed in full force in the story "Deadline", declaring the maturity and originality of the author. This was followed by the novels “Live and Remember” (1974) and “Farewell to Matyora” (1976), which put their author among the best contemporary Russian writers.

Rasputin is one of the most prominent representatives the so-called "village prose", which flourished in the 1970s. last century. The main setting of his works is the Angara region: Siberian villages and towns. In his work, Rasputin proceeds from the idea of the norm of life, which consists in the mutual consistency of the opposite principles of being. The key to such a holistic harmonious perception of the world is the life and work of a person on earth in accordance with his conscience, with himself and the life of nature.

In the second half of the 1970s, performances and films were staged based on his works. His books are published in the country and abroad. The writer receives high state awards and prizes. Member of the Board of the Union of Writers of the RSFSR.

After the release of the story "Fire" in 1980, which was awarded the State Prize of the USSR in 1989, the writer turns to journalism and stories. In Moscow, a collection of his stories "Live a century - love a century" is published. A book of essays "What's in the word, what's behind the word?" is published in Irkutsk.

In the 1990s, the writer did a lot of social and political work. Elected as a deputy of the Supreme Soviet of the USSR. Member of the Presidential Council under Gorbachev. In Irkutsk, Rasputin contributes to the publication of the Orthodox-patriotic newspaper Literary Irkutsk. Recently, essays, articles, stories have appeared in the capital's magazines, where the writer writes with pain about today's "troubled" time.

The writer is full today creative forces, energy, lives with thoughts and pain for his native country. Perestroika, which he once welcomed and took for granted, turned into a new tragedy for the people. Maybe he felt its predatory essence before others and tried to warn us with his story “Fire”?

Most recently, he published a new book, Ivan's Mother, Ivan's Daughter, about the fate of a Russian woman in modern Russia. And again his word sounded firmly, impartially. He touched on one of the most topical issues of our time. His new book has generated controversy, heated discussions. The writer again made us think about our people's fate.

2. The story "Deadline"

The story "The Deadline", which Rasputin himself called the main of his books, touched on many moral problems and vices of society.

The main character of the story is the old woman Anna. She was already eighty years old. The only goal left in her life is to see all her children before her death and go to the next world with a clear conscience. Anna is not afraid to die, moreover, she is ready for this last step, because she is already tired, she feels that she has “been exhausted to the very bottom, boiled away to the last drop” (“Eighty years, apparently, is still a lot for one person if she worn out to the point that now you just take it and throw it away ...”). And no wonder that she was tired - her whole life was running, on her feet, in work, in worries: children, a house, a garden, a field, a collective farm ...

Anna's children are typical representatives of modern society, people who are busy, have a family, a job, but for some reason very rarely remember their mother. Their mother suffered a lot and missed them, and when the time came to die, only for the sake of them she remained for a few more days in this world and she would have lived as long as she wanted, if only they were near.

It was he, Mikhail, who informed everyone by telegrams that his mother was bad and that they should come: you never know what could happen.

Old Anna lies motionless, without opening her eyes; she almost froze, but life is still glimmering. Daughters realize this by bringing a piece of a broken mirror to their lips. It fogs up, so mom is still alive. However, Varvara, one of Anna's daughters, considers it possible already to mourn, "to rebuke her", which she selflessly does first at the bedside, then at the table, "where it is more convenient." Daughter Lyusya at this time sews a mourning dress tailored back in the city. The sewing machine chirps to the beat of Varvarin's sobs.

Having drunk thoroughly and feeling the next day as if they had been passed through a meat grinder, Mikhail and Ilya thoroughly get drunk the next day. “But how not to drink? says Michael. - Laziness, the second, let even a week - it is still possible. What if you don't drink until you die? Just think, there is nothing ahead. All the same. How many ropes hold us both at work and at home, that you can’t gasp, so much you had to do and didn’t do, everything must, must, must, must, and the farther, the more you must - it’s all gone to hell. And I drank, as soon as I got free, I did everything that was necessary. And what he didn’t do, he shouldn’t have done, and he did the right thing, what he didn’t do. This does not mean that Mikhail and Ilya do not know how to work and have never known any other joy, except from drunkenness. In the village where they all once lived together, there was a common work - “friendly, inveterate, sonorous, with a dissonance of saws and axes, with a desperate hoot of fallen woods, resounding in the soul with enthusiastic anxiety with the obligatory joking with each other. Such work happens once during the firewood harvesting season - in the spring, so that they have time to dry over the summer, yellow pine logs, pleasant to the eye, with a thin silky skin, lie down in neat woodpile. These Sundays are organized for themselves, one family helps another, which is still possible now. But the collective farm in the village is falling apart, people are leaving for the city, there is no one to feed and raise livestock.

Rasputin's heroine foresees her own departure to the "far side" with amazing poetic clarity, in all its stages and details. Leaving, Anna remembers her children in those moments when they expressed all the best in themselves: young Ilya very seriously, with faith, accepts a mother's blessing before leaving for the front; Varvara, who grew up to be such a whiny, unhappy woman, is seen in early childhood digging a hole in the ground just to see what is in it, “looking for what no one else knows in her”, Lucy desperately, with her whole being, rushes from the departing steamer towards mother, leaving home; Michael, stunned by the birth of his first child, is suddenly pierced by an understanding of the unbreakable chain of generations in which he threw on a “new ring”.

And Anna remembered herself at the most wonderful moment of her life: “She is not an old woman - no, she is still a girl, and everything around her is young, bright, beautiful. She wanders along the shore along the warm, steamy river after the rain ... And it’s so good, happy for her to live at this moment in the world, to look with her own eyes at its beauty, to be in the midst of a stormy and joyful, consonant in everything action of eternal life, that it makes her dizzy and sweetly, excitedly whines in her chest.

In Anna's internal monologues, in her continuous thoughts, when every judgment, every scene is as if washed by the purity and disinterestedness of the last, dying feeling, the voice of wisdom, kindness and forgiveness is heard here - especially when three of the children leave their mother on the very eve of her death. .. Yes, forgiveness and hope, gained through suffering by one's own life, which came to an end and in which there was everything: birth and death, separation, joy, letters, expectations and meetings. Everyday and forever poetic work that created everything around her...

Conclusion

In the work "Deadline" V. Rasputin showed the relationship within the family, raised the problem of respect for parents, which is very relevant in our time, revealed and showed the main wound of our time - alcoholism, raised the question of conscience and honor, which affected each hero of the story.

The main character of the story “The Deadline” is the dying old woman Anna, resurrecting her past life in her memory, feels her involvement in the eternal cycle of natural life, experiences the mystery of death as the main event in a person’s life. She is contrasted with her four children, who "prematurely" came to see their mother off at last hour and forced to be near her for three days, for which God delayed her departure. Their preoccupation with everyday worries, their fussiness and vanity contrast sharply with the spiritual work that takes place in the fading mind of the old peasant woman.

The everyday greatness of the old peasant woman's life is striking.

Sons Mikhail and Ilya stocked up on vodka for the commemoration, but could not stand it and drank heavily. Daughters Lyusya and Varvara almost quarreled because of their share of worries about their mother. But Anna doesn't judge anyone. She, as it were, approached the most reserved meaning of being, appreciated the purifying meaning of the suffering of life not by lies, said goodbye to her friend Mironikha, taught her daughter Varvara how she should “howl”, mourn her mother according to custom.

Anna in "The Deadline" is the clearest example of an artistic study of the human soul, shown by the writer in all its majestic originality, uniqueness and wisdom - the soul of a woman who comprehends and has even comprehended what each of us has thought about at least once in our lives.

“Today, any serious conversation ... comes down to three main questions: the first is Shukshin's question: what is happening to us? The other two were asked much earlier: what to do and who is to blame? So correctly Rasputin defined modern searches, their attraction to the problems raised by the Russian classical literature. And in his works the writer tries to find the answer to these questions.

List of used literature

1.All works school curriculum. Book 2 / Compiled by L. G. Milko, O. E. Orlova. - M.: Martin, 2001.

2. Rasputin V.G. Selected works in two volumes / V. G. Rasputin. - M .: Publishing house " Fiction", 1990.

3. Rasputin V.G. Deadline / V. G. Rasputin. - M .: Publishing house "Young Guard", 2001.

4.Russian writers and poets. Brief biographical dictionary. - M., 2000.

Slides captions:

For the 75th anniversary of Valentin Rasputin Analysis of the story "Deadline" Prepared by: teacher 1 qualification category MBOU "Gymnasium No. 3" Sidorova Valentina Aleksandrovna

“... In the current literature there are undoubted names, without which neither we nor descendants can imagine it. One of these names is Valentin Rasputin "(I.A. Pankeev)

The story was written in 1970. The story "Deadline" Valentin Rasputin calls "the main of his books." He lifted the veil over the main themes of world literature and art: life and death, the trace of a person on Earth, motherly love.

ppp "Village old women are full of inner beauty and charm, they know a lot, speak expressive language..."

The story begins with the phrase: “The old woman Anna lay on a narrow iron bed near the Russian stove and waited for death, the time for which seemed ripe: the old woman was about eighty” ... And ends with a short sentence: “The old woman died at night.” An unsophisticated situation! The plot of the story is simple, there are very few events in it, but the work is distinguished by philosophical richness and subtle psychologism.

Anna's children

Heroes of the story The eldest son Ilya: "his face seemed painted, as if Ilya had sold his own or lost at cards to a stranger." The middle daughter Lyusya became “... a city girl from head to toe, she was born from an old woman by mistake” (ch. 6 - the center of the story) Mikhail is more cordial and deeper than the others: “It seems to be blocking us, but now it’s like out of nowhere” ... Tanchora is the most controversial image: sensitive to affection in her mother's memories, but looks cruel in her absence.

The drinking theory: "Do you think we drink honey?" “I think so: we drink because such a need is to drink ... I drank, as I got free, liberation has come ...” Such freedom is disastrous for the people. Moral degradation creeps into a person.

Two girlfriends In dialogues with Mironikha, the playful tone of old village girlfriends dominates, a bright, slightly crafty folk language. - Ochi-mochi! Are you alive, old lady? Why doesn't death take you? I'm going to her wake, I think she, like a kind one, already chiselled, but she's still here ... - Don't you girl know that I'm waiting for you ... I'll be alone, I'll be waiting for you.

Granddaughter Ninka “Having raised her hand, she began to stroke the girl on the shoulder, warming herself from this pleasant touch to her native childish body with spiritual warmth - as if they were stroking her ...”

The meaning of the name Granny Anna let herself go, waiting for Tanchora: “Today was the last deadline: if Tanchora does not arrive before dark, then there is nothing more to hope for.” The last term was allotted for her to understand herself, to sum up her life results. The deadline is also set for her children, so that they come to their senses, think about the indifferent attitude towards the person who gave them life, about the pain mothers cause with their callousness and selfishness.

Conclusions If the family collapses, the elementary fundamental moral foundations of the individual collapse, and inner world man turns into ruins. The last request of the mother: “I will die, I will die. From you will see. Sedni. Wait a minute, wait a minute. I don’t need anything else, ”she left unheard by her leaving (or fleeing ?!) children. And this will not go in vain either to Varvara, or Ilya, or Lucy. It was the very last of the last terms for them.

“Take care of mothers, people! Take care! They come only once and do not return, and no one can replace them! This is what a person who has the right to trust tells you - he outlived his mother ... ”(V.P. Astafiev).