The era of Stalinism distorted the fate of many people, including writers who tell the bitter truth "about the happiest and freest country." In February 1945, Solzhenitsyn was arrested for criticizing the "Father of Nations" and sentenced to eight years. It was a difficult time: a prison research institute, work in a political special camp, exile to Kazakhstan, rehabilitation. In 1974 - exile to the West (after the Nobel Prize was awarded!). While abroad, the writer tried to convey to people living in Russia that they need to live honestly, not to participate

In a lie, rule the country on the basis of laws, and then everything will work out.
Alexander Isaevich Solzhenitsyn revealed to us the cruel truth about the state in which we live, about the forgotten village.
The story "Matryona's yard", which was called at first "The village is not worth a righteous man", tells about the fate of one person - Matryona Vasilyevna Grigorieva. Through the eyes of the intellectual Ignatich, in whom Alexander Isaevich himself is easily recognizable, in 1956, after his Kazakh exile, who came to a distant village in the Ryazan region to teach, we see village life, Matryona, an old and sick mistress who has taken on a stranger's man. With the arrival of Ignatich, life became easier: the school provided part of the fuel. Matryona, who had worked all her life on a collective farm for her workdays, did not even receive a pension. However, the woman did not complain about her fate: she was sympathetic and delicate, had an honest and caring heart, hands that did not know rest. She loved her fig trees and the bumpy cat, loved her poor house, and did not want anything else. She received the teacher kindly, did not hide the hardships of life from him, did not promise full meals.
Other people lived next to Matryona: calculating neighbors, greedy relatives, arrogant rural bosses. She was indifferent to material enrichment, devoid of greed, if she helped to harvest potatoes like a neighbor, she would not take money, she would be glad for the people. “Ah, Ignatich, and she has big potatoes! I dug into the hunt, did not want to leave the site, by God it’s true! ” - she tells the guest.
Matryona is the soul of the people. In the traditions of Nekrasova, Solzhenitsyn describes how she managed to pacify a frightened racing horse. On such women, the village rests, they are called righteous in Russia (hence the original name of the work). Therefore, it is especially offensive when Matryona is oppressed by those whom she calls “enemies”, those in power. She has to hide the peat, secretly brought to heat the house. We have to steal fuel. But Solzhenitsyn makes it clear: the peasants, forgotten by all, are forced to do so. The rotten conscience of the collective farm bosses, who consider themselves to be people of the highest class. Not ashamed of those around him, the chairman provides himself with state peat. His wife gives the order to Matryona, who left the collective farm due to illness, to do the usual work for villagers for free. For a trivial certificate, an elderly woman walks many kilometers.
The fate of the righteous woman ends tragically: she dies, sandwiched between the sleigh and the tractor. It seems that this ending is predetermined. Among the selfish, envious, shameless people Matryona could not live. The narrator complains about human mental blindness, not singling out ourselves: “We all lived next to her and did not understand that she was the same righteous person, without whom, according to the proverb, the village, neither the city, nor all our land is worth”.
Solzhenitsyn in his work tells about the fate of Matryona, whose name translated from Latin means “mother”. It seems to me that this story is about “all our land”. All the troubles that occur in the country, whether in a single village, come from lies, according to the writer. Faddey Mironovich, the brother of Matryona's husband, who disappeared in the war, has a "scratch" Antoshka. The whole life of an eighth grader is built on deception: he lies both at school and at home. The school turns a blind eye to the poor studies of the son of Thaddeus, in the struggle for the percentage of progress, transfers him from class to class. And the school is part of the system. The writer wants to say that it is convenient for the state to have subjects who, under the guise, carry out orders from their superiors, show off, and are inattentive to an individual.
Matryona is shy and disinterested in character. And this, the author of the story wants to say, is leaving our lives. What remains is rudeness, evil, envy. A person who is delicate by nature, kind, who knows how to sincerely rejoice for others, and do little himself, has no place in this life. Such, as this woman, is assigned only the role of a "white crow", which can be robbed, and even laugh at her naivety, others remain the masters of life.
A.I. Solzhenitsyn wants to say that in memory of Matryona, each of us in our hearts needs to rebuild Matryona's yard. Because greed, cynicism, lust for power are spiritual death. It is necessary to revive what has been lost over the years: conscience, kindness, empathy. These are the best national traits of our compatriots. To equip Russia!

1. A. I. Solzhenitsyn is a writer, publicist, and public figure. The main theme of his work is the exposure of the totalitarian system, the proof of the impossibility of human existence in it. In such conditions, according to A.I.Solzhenitsyn, the most ...
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3. The name of Alexander Solzhenitsyn, which was banned for a long time, has now taken its place in the history of Russian literature of the Soviet period. In 1989 in our country was published a series of works "The Gulag Archipelago" ...
4. From the first moment of his appearance in literature, the writer Alexander Solzhenitsyn was proclaimed the “new Tolstoy” and to this day they equate him with the “new Tolstoy” - or blame the “new Tolstoy”, who he is ...
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8. Alexander Isaevich Solzhenitsyn. Some twenty years ago, it was forbidden to pronounce his name, but today we admire his deeply philosophical works, which reveal skill in portraying characters, the ability to observe ...
9. A. I. Solzhenitsyn appeared in the “official” Soviet literature in the era of the Khrushchev “thaw”, when against the background of the processes of debunking the cult of Stalin's personality, the posthumous rehabilitation of the victims of repression, release from prisons and camps ...
10. A former prisoner, and now a school teacher, eager to find peace in some remote and quiet corner of Russia, finds shelter and warmth in the house of an elderly and familiar Matryona. They immediately find ...
11. In the third volume of his “artistic study” of Soviet prisons and camps “The Gulag Archipelago”, Alexander Solzhenitsyn pays a lot of attention to the uprisings of prisoners, which became especially frequent after the death of Stalin and the arrest of Beria, when ...
12. He had a lot of luck today. A. Solzhenitsyn. One Day in Ivan Denisovich The story of A. I. Solzhenitsyn “One Day in Ivan Denisovich” was written in 1959 in an amazingly short ...
13. The word "GULAG", which is present in the title of the book "The Gulag Archipelago", is an abbreviation of the Main Administration of Camps, which was subject to the system of prisons, concentration camps, and points of exile for repressed citizens. This ramified into different "islands", but united ...
14. IVAN DENISOVICH is the hero of the story-story by A. I. Solzhenitsyn “One day of Ivan Denisovich” (1959-1962). The image of I. D. is, as it were, made up of two real people by the author. One of them is Ivan Shukhov, already ...
15. Today we turn to our history again and again in order not to repeat all this: collectivization, mediocre orders of the highest military echelon during the war, the GULAG. We turn to history ...
The story of Alexander Isaevich Solzhenitsyn "Matryona's yard" is a work based on real events, one might say autobiographical. Indeed, after returning from the camp, the author worked in a rural school and lived in a house near ...
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Comprehensive analysis of the work "Matrenin Dvor" by A.I. Solzhenitsyn.
In the work "Matryona's Dvor" Alexander Isaevich Solzhenitsyn describes the life of a hardworking, intelligent, but very lonely woman - Matryona, whom no one understood or appreciated, but everyone tried to take advantage of her hard work and responsiveness.
The very title of the story "Matrenin's yard" can be interpreted in different ways. In the first case, for example, the word "yard" can simply mean Matryona's way of life, her household, her purely domestic concerns and difficulties. In the second case, perhaps we can say that the word "courtyard" focuses the reader's attention on the fate of Matryona's house itself, Matryona's own household yard. In the third case, the "yard" symbolizes the circle of people who were somehow interested in Matryona.
In each of the above meanings of the word "courtyard" there is undoubtedly the tragedy that is inherent, perhaps, in the way of life of every woman who looks like Matryona, but nevertheless in the third meaning, it seems to me, the tragedy is greatest, since here it is already it is not about the difficulties of life and not about loneliness, but about the fact that even death cannot make people think one day about justice and a proper attitude towards human dignity. Much stronger in people is dominated by fear for themselves, their lives, without the help of the other, whose fate they have never worried. "Then I learned that crying over the deceased is not just crying, but a kind of dung. Three sisters of Matryona came together, seized the hut, the goat and the stove, locked her chest, gutted two hundred funeral rubles from the lining of the coat, and told everyone that they alone were close to Matryona. "
I think that in this case all three meanings of the word "yard" are added, and each of these meanings reflects one or another tragic picture: the soullessness, deadness of the "living yard" that surrounded Matryona during her lifetime and further divided her household; the fate of Matryona's hut herself after Matryona's death and during Matryona's life; the absurd death of Matryona.
The main feature of the literary language of Solzhenitsyn is that Alexander Isaevich himself gives an explanatory interpretation of many of the lines of the heroes of the story, and this reveals for us the veil behind which lies the very mood of Solzhenitsyn, his personal attitude towards each of the heroes. However, I got the impression that the author's interpretations have a somewhat ironic character, but at the same time, they seem to synthesize replicas and leave in them only the ins and outs of the true meaning. "Oh, aunt-aunt! And how could you not take care of yourself! And, probably, now they are offended by us! And you are our darling, and all your fault! And the upper room has nothing to do with it, and why did you go there, Where did death guard you? And no one called you there! And how did you die - did not think! And why did you not obey us? E (And out of all these lamentations, he stuck out the answer: we were not to blame for her death, but we will talk about the hut again !) ".
Reading Solzhenitsyn's story between the lines, one can understand that Alexander Isaevich himself draws completely different conclusions from what he heard than those that could be expected. "And only then - from these disapproving reviews of my sister-in-law - an image of Matryona emerged in front of me, which I did not understand, even living side by side with her." "We all lived next to her and did not understand that she is the same righteous person, without whom, according to the proverb, the village is not worth it." One involuntarily recalls the words of the French writer Antoine de Saint-Exupery, the meaning of which is that in reality everything is not as it is in reality.
Matryona is an opposition to the reality that in Solzhenitsyn's story is expressed through anger, envy and money-grubbing of people. By her lifestyle, Matryona proved that anyone who lives in this world can be honest and righteous if he lives with a righteous idea and is strong in spirit.

Analysis of A.I. Solzhenitsyn's "Matrenin's yard"

A.I.Solzhenitsyn's view of the village of the 1950s and 1960s is distinguished by its harsh and cruel truth. Therefore, the editor of the magazine "Novy Mir" AT Tvardovsky insisted to replace the time of action of the story "Matrenin's yard" (1959) from 1956 to 1953. It was an editorial move in the hope of pushing for publication a new work by Solzhenitsyn: the events in the story were postponed to the times before the Khrushchev thaw. The picture depicted leaves too painful impression. “Leaves flew around, snow fell - and then melted. They plowed again, sowed again, reaped again. And again leaves flew around, and again snow fell. And one revolution. And another revolution. And the whole world turned over. "

The story is usually based on a case that reveals the character of the protagonist. Solzhenitsyn also builds his story on this traditional principle. Fate threw the hero-storyteller to the station with a strange name for Russian places - Torfoproduct. Here "dense, impenetrable forests stood before and survived the revolution." But then they were cut down, brought to the root. In the village, they no longer baked bread, did not sell anything edible - the table became scarce and poor. Collective farmers “all the way to the whitest flies on the collective farm, all on the collective farm”, and they had to collect hay for their cows from under the snow.

The author reveals the character of the main heroine of the story, Matryona, through a tragic event - her death. Only after death "did the image of Matryona float before me, which I did not understand, even living side by side with her." Throughout the story, the author does not give a detailed, specific description of the heroine. Only one portrait detail is constantly emphasized by the author - Matryona's “radiant”, “kind”, “apologetic” smile. But by the end of the story, the reader imagines the character of the heroine. The author's attitude to Matryona is felt in the tonality of the phrase, in the selection of colors: "From the red frosty sun, the frozen window of the canopy, now shortened, poured a little pink, and this reflection warmed Matryona's face." And then there is a direct author's characteristic: "Those people always have good faces, who are in harmony with their consciences." The flowing, melodious, primordially Russian speech of Matryona is remembered, beginning with "some low warm purr, like grandmothers in fairy tales."

The world around Matryona in her darkish hut with a large Russian stove is, as it were, a continuation of herself, a part of her life. Everything here is organic and natural: the cockroaches rustling behind the partition, the rustle of which resembled the “distant sound of the ocean,” and the bent-legged cat picked up by Matryona out of pity, and the mice, which on the tragic night of Matryona’s death darted about behind the wallpaper as if Matryona herself was “invisible she rushed about and said goodbye here to her hut. " Favorite ficuses "flooded the loneliness of the hostess with a silent, but lively crowd." The same ficuses that Matryona once saved in a fire, not thinking about the meager wealth she had acquired. The "frightened crowd" froze the ficuses on that terrible night, and then they were forever taken out of the hut ...

The author-narrator unfolds the story of Matryona's life not immediately, but gradually. She had to sip a lot of grief and injustice in her lifetime: broken love, the death of six children, the loss of her husband in the war, hellish labor in the village, a serious illness-illness, a bitter resentment against the collective farm, which squeezed all her strength out of her, and then wrote it off as unnecessary leaving without a pension and support. In the fate of Matryona, the tragedy of a village Russian woman is concentrated - the most expressive, outrageous.

But she was not angry with this world, she kept a good mood, a feeling of joy and pity for others, her radiant smile still illuminates her face. "She had a sure way to regain her good spirits - work." And in her old age, Matryona did not know rest: she grabbed a shovel, then she went with a sack to the swamp to mow grass for her dirty white goat, then she went with other women to steal peat from the collective farm secretly for winter kindling.

“Matryona was angry with someone invisible,” but she did not hold any grudge against the collective farm. Moreover, according to the first decree, she went to help the collective farm, without receiving, as before, anything for the work. Yes, and any distant relative or neighbor did not refuse help, without a shadow of envy later telling the guest about the neighbor's rich potato harvest. Work was never a burden to her, “Matryona never spared neither work nor her good”. And everyone around Matrenin's disinterestedness was shamelessly used.

She lived poorly, miserably, lonely - a "lost old woman", exhausted by labor and illness. Relatives almost did not appear in her house, fearing, apparently, that Matryona would ask them for help. All in unison condemned her that she was funny and stupid, working for others for free, always getting into peasant affairs (after all, she got under the train, because she wanted to knock the peasants to drag the sleds through the crossing). True, after Matryona's death, the sisters immediately flew in, "seized the hut, the goat and the stove, locked her chest, and gutted two hundred funeral rubles from the lining of her coat." Yes, and a half-century friend, "the only one who sincerely loved Matryona in this village," who came running in tears with the tragic news, nevertheless, leaving, took Matryona's knitted blouse with her so that the sisters would not get it. The sister-in-law, who recognized Matryona's simplicity and cordiality, spoke of this "with contemptuous regret." Everyone mercilessly used Matryona's kindness and innocence - and amicably condemned for this.

The writer devotes a significant place in the story to the scene of the funeral. And this is no coincidence. For the last time, all relatives and friends gathered in Matryona's house, in whose environment she lived her life. And it turned out that Matryona was leaving life, never understood by anyone, not humanly mourned by anyone. At the memorial supper they drank a lot, they said loudly, "not at all about Matryona." According to custom, they sang "Eternal Memory", but "the voices were hoarse, rosy, their faces were drunk, and no one already put feelings into this eternal memory."

The death of the heroine is the beginning of decay, the death of the moral foundations that Matryona strengthened with her life. She was the only one in the village who lived in her own world: she arranged her life with work, honesty, kindness and patience, preserving her soul and inner freedom. In a popular way, wise, judicious, able to appreciate goodness and beauty, smiling and sociable in her disposition, Matryona managed to resist evil and violence, preserving her “court”, her world, the special world of the righteous. But Matryona dies - and this world is crumbling: they drag her house down a log, greedily share her modest belongings. And there is no one to protect Matryona's yard, no one even thinks that with the departure of Matryona something very valuable and important, not amenable to division and primitive everyday assessment, is leaving her life.

“We all lived next to her and did not understand that she is the very righteous person without whom, according to the proverb, the village is not worth it. Not a city. Not all of our land. "

The bitter ending of the story. The author admits that he, having become related to Matryona, does not pursue any selfish interests, nevertheless he did not fully understand her. And only death revealed to him the majestic and tragic image of Matryona. The story is a kind of author's repentance, bitter repentance for the moral blindness of everyone around him, including himself. He bows his head before a man of a disinterested soul, absolutely unrequited, defenseless.

Despite the tragedy of events, the story is sustained on a very warm, light, piercing note. It sets the reader up for good feelings and serious thoughts.

Alexander Solzhenitsyn (1918 - 2008) Born on December 11, 1918 in Kislovodsk. The parents came from peasants. This did not stop them from getting a good education. The mother was widowed six months before the birth of her son. To feed him, she went to work as a typist. In 1938, Solzhenitsyn entered the Physics and Mathematics Faculty of Rostov University, and in 1941, having received a mathematics degree, he graduated from the correspondence department of the Institute of Philosophy, Literature and History (IFLI) in Moscow. After the outbreak of World War II, he was drafted into the army (artillery). On February 9, 1945, Solzhenitsyn was arrested by the front-line counterintelligence: when reviewing (opening) his letter to a friend, the NKVD officers discovered critical remarks about JV Stalin. The tribunal sentenced Alexander Isayevich to 8 years in prison with subsequent exile to Siberia.

In 1957, after the beginning of the struggle against the personality cult of Stalin, Solzhenitsyn was rehabilitated. NS Khrushchev personally authorized the publication of his story about the Stalinist camps "One Day in the Life of Ivan Denisovich" (1962). In 1967, after Solzhenitsyn sent an open letter to the Congress of the Writers' Union of the USSR, where he called for an end to censorship, his works were banned. Nevertheless, the novels In the First Circle (1968) and Cancer Ward (1969) were circulated in samizdat and were published in the West without the author's consent. In 1970, Alexander Isaevich was awarded the Nobel Prize in Literature.

In 1973, the KGB confiscated the manuscript activity. He died on August 3, 2008, a new work of the writer of the year in Moscow. "The GULAG Archipelago". The "GULAG Archipelago" meant prisons, forced labor camps, settlements for exiles scattered throughout the USSR. On February 12, 1974, Solzhenitsyn was arrested, accused of high treason and deported to the Federal Republic of Germany. In 1976, he moved to the United States and lived in Vermont, pursuing a literary career. Only in 1994 was the writer able to return to Russia. Until recently, Solzhenitsyn continued his writing and social

The main theme of the work of this writer is not at all criticism of communism and not cursing the Gulag, but the struggle between good and evil - the eternal theme of world art. Solzhenitsyn's work grew not only on the traditions of Russian literature of the 20th century. As a rule, his works are viewed against the background of an extremely limited range of socio-political and literary phenomena of the 19th and 20th centuries. The artistic space of Solzhenitsyn's prose is a combination of three worlds - ideal (Divine), real (earthly) and hellish (diabolical).

The structure of the soul of the Russian person corresponds to this structure of the world. It is also three-part and is a combination of several principles: holy, human and animal. In different periods, one of these principles is suppressed, the other begins to dominate, and this explains the high ups and downs of the Russian people. The time, which Solzhenitsyn writes about in the story "Matrenin's Dvor", in his opinion, is one of the most terrible failures in Russian history, the time of the triumph of the Antichrist. For Solzhenitsyn, the devil's antiworld is the kingdom of selfishness and primitive rationalism, the triumph of self-interest and the denial of absolute values; it is dominated by the cult of earthly well-being, and man is proclaimed the measure of all values.

Elements of oral folk art in the story “Matryonin's Dvor” Traditional is the disclosure of the inner world of the heroine on the basis of song stylistics. So, Matryona has a "melodious" speech: "She did not speak, she sang sweetly," "benevolent words ... began with some low anguish, like grandmothers in fairy tales." The impression was strengthened by the inclusion of "melodious" dialectisms in the text. The dialectic words used in the story very vividly convey the speech of the heroine's native land: kart, cardboard soup, by the evening (by evening), a room, duel (blizzard), etc. Matryona has firm ideas about how to sing “in our ”, And her memories of her youth evoke in the narrator an association with“ a song under the sky, which has long been behind and cannot be sung with mechanisms ”. The story uses proverbs reflecting the bitter experience of people's life: "Dunno lies on the stove, they lead the knowledge on a string", "There are two riddles in the world: how I was born - I don't remember how I will die - I don't know."

At the end of the story, folk wisdom becomes the basis for evaluating the heroine: "... she is the same righteous man, without whom, according to the proverb (meaning, the proverb" A city does not stand without a saint, a village without a righteous man "), the village does not stand." In the story "Matrenin's Dvor", there are many signs that promise something unkind. It should be recalled that signs are characteristic of many folklore works: songs, epics, fairy tales, etc. Tragic events are foreshadowed by Matryona's fear of moving ("I was afraid ... most of all for some reason ..."), and her kitten disappeared at the blessing of water ("... how an unclean spirit carried him away "), and the fact that" in the same days a bumpy cat shaved off the yard ... ". Nature itself warns the heroine from evil. A blizzard, circling for two days, interferes with transportation, after which a thaw immediately begins. Thus, folklore and Christian motives occupy a significant place in this story. Solzhenitsyn uses them because they are directly related to the Russian people. And the fate of the people during the turmoil of the 20th century is the central theme of all Solzhenitsyn's work. ... ...

Year of first publication - 1963 Genre: short story Gender: epos Type of fiction speech: prose Plot type: social, everyday, psychological

History of creation The story "Matrenin's yard" was written in 1959 and published in 1964. This is Solzhenitsyn's story about the situation in which he found himself after returning from the camp. He “wanted to get lost in the interior of Russia”, to find “a quiet corner of Russia, far from the railways”. After rehabilitation in 1957, Solzhenitsyn lived in the village of Maltsevo, Kurlovsky District, Vladimir Region, with a peasant woman, Matryona Vasilyevna Zakharova. The former prisoner could only be hired for hard work, he also wanted to teach.

Initially, the author titled his work "A village is not worth a righteous man." It is known that in 1963, in order to avoid friction with censorship, the publisher A.T. Tvardovsky changed the name - the idea of \u200b\u200brighteousness referred to Christianity and was not welcomed in the early 60s of the 20th century.

Short story In the summer of 1956, a passenger disembarks at the one hundred and eighty-fourth kilometer from Moscow along the railway line to Murom and Kazan. This is a storyteller, whose fate resembles the fate of Solzhenitsyn himself (he fought, but from the front "he was delayed with the return of ten years", that is, he served in the camp, which is also evidenced by the fact that when the narrator got a job, every letter in his documents "groped"). He dreams of working as a teacher in the depths of Russia, away from urban civilization. But it didn't work out to live in the village with the wonderful name Vysokoe Pole, because they didn't bake bread and sell anything edible there. And then he is transferred to a village with a monstrous name for his hearing Peatproduct. However, it turns out that "not everything is around peat extraction" and there are also villages with the names Chaslitsy, Ovintsy, Spudnya, Shevertni, Shestimirovo. ... ... This reconciles the narrator with his share, for it promises him "perfect Russia". He settled in one of the villages called Talnovo. The owner of the hut in which the narrator lives is called Matryona Vasilyevna Grigorieva or simply Matryona.

The fate of Matryona, about which she did not immediately, not considering it interesting for a "cultured" person, sometimes tells the guest in the evenings, bewitches and at the same time stuns him. He sees in her fate a special meaning, which Matryona's fellow villagers and relatives do not notice. The husband went missing at the beginning of the war. He loved Matryona and did not beat her like the village husbands of their wives. But Matryona herself hardly loved him. She was to marry her husband's older brother, Thaddeus. However, he went to the front in the First World War and disappeared. Matryona was waiting for him, but in the end, at the insistence of the Thaddeus family, she married her younger brother, Efim. And then Thaddeus, who was in Hungarian captivity, suddenly returned. According to him, he did not cut Matryona and her husband with an ax only because Yefim is his brother. Thaddeus loved Matryona so much that he found a new bride with the same name. The "second Matryona" gave birth to six children to Thaddeus, but the "first Matryona" had all of Yefim's children (also six) dying before they even lived three months. The whole village decided that Matryona was “spoiled,” and she herself believed it. Then she took up the daughter of the "second Matryona" - Kira, raised her for ten years, until she got married and left for the village of Cherusti.

Matryona lived her whole life as if not for herself. She constantly works for someone: for a collective farm, for neighbors, while doing "muzhik" work, and never asks for money for her. Matryona has tremendous inner strength. For example, she is able to stop a rushing horse on the run, which cannot be stopped by men. Gradually, the narrator realizes that it is precisely on people like Matryona, who give themselves to others without a trace, that the whole village and the entire Russian land still rests. But this discovery hardly pleases him. If Russia rests only on selfless old women, what will happen to her next? Hence the absurd and tragic end of the story. Matryona dies, helping Thaddeus and his sons to drag a part of their own hut, bequeathed to Kira, across the railway on a sleigh. Thaddeus did not want to wait for Matryona's death and decided to take the inheritance for the young during her lifetime. Thus, he unwittingly provoked her death. When relatives bury Matryona, they cry, rather out of duty than heartily, and think only about the final division of Matryona's property. Thaddeus doesn't even come to the commemoration.

Plot The story is absolutely documentary, there is practically no fiction in it, the events that took place are described in the story with chronological accuracy. The story begins in August 1956 and ends in June 1957. Culmination The climax is the episode of the upper room being cut off, and the denouement is the moment of Matryona's death at the crossing during the transfer of the log house of her room: “At the crossing there is a hill, the entrance is steep. There is no barrier. With the first sleigh, the tractor overcame, and the cable burst, and the second sleigh ... got stuck ... in the same place ... Matryona was carried too. "

Composition The work consists of three chapters. 1. Image of a Russian village in the early 50s. Includes a detailed exposition: the story of the search for shelter and the acquaintance with the mistress of the house, when the hero is only watching Matryona. 2. The life and fate of the heroine of the story. We learn the story of Matryona, her biography, conveyed in memories. 3. Lessons in morality. The third chapter follows the denouement and is an epilogue.

The main characters The narrator (Ignatich) is an autobiographical character. Matryona calls R. Ignatyich. He left his exile "in a dusty, hot desert" and was rehabilitated. R. wanted to live in some village in central Russia. Once in Talnov, he began to rent a room from Matryona and teach mathematics at a local school. R. is closed, shuns people, does not like noise. He worries when Matryona accidentally puts on his quilted jacket, suffers from the noise of the loudspeaker. But with Matryona herself, the hero got along right away, despite the fact that they lived in the same room: she was very quiet and helpful. But R., an intelligent and experienced person, did not immediately appreciate Matryona. He understood the essence of M. only after the death of the heroine, equating her with the righteous ("A village is not worth a righteous man," R. recalled).

Is there a detailed portrait of the heroine in the story? What portrait details does the writer focus on? Matryona is endowed with a discreet appearance. It is important for the author to depict not so much the external beauty of a simple Russian peasant woman as the internal light streaming from her eyes, and all the more clearly to emphasize his thought: “Those people always have good faces who are in harmony with their conscience”.

What artistic details create a picture of Matryona's life? All her "wealth" - ficuses, a bent-legged cat, a goat, mice and cockroaches. The whole world around Matryona in her darkish hut with a large Russian stove is a continuation of herself, a part of her life. Everything here is natural and organic: favorite ficuses "filled the loneliness of the hostess with a silent but lively crowd."

How does the theme of the heroine's past unfold in the story? The heroine's life is not easy. She had to sip a lot of grief and injustice in her lifetime: broken love, the death of six children, the loss of her husband in the war, hellish labor in the village, a serious illness-illness, a bitter resentment against the collective farm, which squeezed all her strength out of her, and then wrote it off as unnecessary ... In the fate of Matryona alone, the tragedy of a village Russian woman is concentrated.

How does Matryona appear in the system of other images of the story, what is the attitude of those around her to her? The heroes of the story fall into two unequal parts: Matryona and the author-narrator who understands and loves her, and those who can be called “Nematrena”, her relatives. The border between them is indicated in the fact that the main thing in the consciousness and behavior of each of them is an interest in a common life, a desire to participate in it, an open sincere attitude towards people or focus only on their own interests, their own home, and their own wealth.

The image of the righteous woman Matryona in the story is contrasted with Thaddeus. In his words about Matryona's marriage to his brother, fierce hatred is felt. The return of Thaddeus reminded Matryona of their beautiful past. In Thaddeus, however, nothing trembled after the misfortune with Matryona, he even looked with some indifference at her dead body. The train wreck, under which both the room and the people transporting it were, was predetermined by the petty desire of Thaddeus and his relatives to save money on small things, not to drive the tractor twice, but to get by with one flight. After her death, many began to reproach Matryona. So, the sister-in-law said about her: “. ... ... she was unscrupulous, and she did not pursue the procurement, and was not careful; ... ... ... and stupid, she helped strangers for free. Even Ignatyich admits with pain and remorse: “There is no Matryona. A loved one was killed. And on the last day I reproached her for her quilted jacket. "

The conflict between Matryona and the village is not developed in the story; rather, there is indifference and neglect, a lack of understanding of her worldview. We see only one unrighteous Thaddeus, who forced Matryona to give part of the house. After Matryona's death, the village becomes morally impoverished. Describing her funeral, Solzhenitsyn does not hide his displeasure with fellow villagers: Matryona was buried in a poor, not painted coffin, drunken, hoarse voices sang "eternal memory", hastily shared her things. Why are they so heartless? The author explains the anger of people with social problems. Social poverty has brought the village to spiritual poverty. Solzhenitsyn's view of the village of the 1960s is distinguished by harsh, brutal truthfulness. But this one, however, is imbued with pain, and torment, and love, and hope. Love is the desire to change the social order that has brought Russia to the brink of the abyss. The hope is that if there is at least one righteous woman in every village, and he hopes that there is.

The theme of righteousness Solzhenitsyn approaches the theme of righteousness, a favorite in Russian literature of the second half of the 19th century, delicately, unobtrusively, and even with humor. Speaking about Matryona, his hero remarks: “Only she had fewer sins than her bum-legged cat. That - strangled mice !. ... “The writer reinterprets the images of the righteous in Russian literature and depicts as a righteous not a man who has gone through many sins, repented and began to live divinely. He makes righteousness a natural way of life for the heroine. At the same time Matryona is not a typical image, she is not like other “Talnov women” who live by material interests. She is one of those “three righteous men” who are so hard to find.

Idea: Using the example of revealing the fate of a village woman, show that life losses and suffering only more clearly manifest the measure of the human in each of the people. The idea of \u200b\u200b"Matryonin's Dvor" and its problems are subordinated to one goal: to reveal the beauty of the heroine's Christian-Orthodox worldview.

Artistic space The artistic space of the story is interesting. It begins with its name, then expands to the railway station, which is located “one hundred and eighty-fourth kilometers from Moscow along the branch that goes from Murom to Kazan”, and to the villages “beyond the hill”, and then covers the whole country that receives foreign delegation, and extends even into the Universe, which must be filled by artificial earth satellites. Images of houses and roads are associated with the category of space, symbolizing the life of the heroes.

Problems: üRussian village of the beginning of the 50s, its life, customs, morals ü Relationship between the authorities and the person-worker üPunishing power of love üSpecial holiness of the heroine's thoughts.

The values \u200b\u200bof the work of A. I. Solzhenitsyn affirms universal human moral values. The story "Matryonin Dvor" calls not to repeat the mistakes of the past generation, so that people become more humane and moral. After all, these are the basic values \u200b\u200bof humanity!

Anna Akhmatova about the story of A. I. Solzhenitsyn "Matryona's yard" "An amazing thing ... This is more terrible than" Ivan Denisovich "... There you can shove everything into the personality cult, but here ... to smithereens ... "

The statements of A. I. Solzhenitsyn about the heroine of the story “Matryonin's yard” are the same “She is a knowledgeable, without a forefather, not a village. Not a hundred city. Not all our land. " "Those people always have good faces, who are in harmony with their consciences."

"There are such inborn angels, they seem to be weightless, they seem to slide over this slime (violence, lies, myths about happiness and legality), not sinking in it at all." A. I. Solzhenitsyn A true man shows himself almost only in moments of farewell and suffering - he is this, and remember him ... V. Rasputin

To Central Russia. Thanks to new trends, the recent prisoner is now not refused to become school teachers in the Vladimir village of Miltsevo (in the story - Talnovo). Solzhenitsyn settles in the hut of a local resident, Matryona Vasilyevna, a woman of about sixty who is often ill. Matryona has neither a husband nor children. Her loneliness is brightened up only by ficuses placed everywhere in the house, and a pity-legged cat picked up out of pity. (See Description of Matryona's house.)

With warm, lyrical sympathy AI Solzhenitsyn describes Matryona's difficult life. For many years she has not earned a single ruble. On the collective farm, Matryona works "for the sticks of workdays in the contaminated book of the accountant." The law that came out after Stalin's death finally gives her the right to seek a pension, but even then not for herself, but for the loss of her husband missing in action at the front. To do this, you need to collect a bunch of certificates, and then take them many times to the social security and the village council, 10-20 kilometers away. Matryona's hut is full of mice and cockroaches that cannot be removed. She keeps only a goat of living creatures, and feeds mainly on "kartyu" (potatoes) no larger than a chicken egg: a sandy, unfertilized vegetable garden does not produce a larger one. But even with such a need, Matryona remains a bright person, with a radiant smile. Her work helps her to maintain her good spirits - trips to the forest for peat (with a two-pound sack for three kilometers behind her shoulders), mowing hay for a goat, chores around the house. Due to old age and illness, Matryona has already been released from the collective farm, but the formidable wife of the chairman now and then orders her to help at work for free. Matryona easily agrees to help her neighbors in the gardens without money. Having received 80 rubles of pension from the state, she makes herself new felt boots, a coat from a worn railway overcoat - and believes that her life has noticeably improved.

"Matryona Dvor" - the house of Matryona Vasilyevna Zakharova in the village of Miltsevo, Vladimir region, the scene of the story of A. I. Solzhenitsyn

Soon Solzhenitsyn learns the history of Matryona's marriage. In her youth, she was going to marry her neighbor Thaddeus. However, in 1914, he was taken to the German war - and he disappeared into the unknown for three years. Without waiting for news from the groom, convinced that he was dead, Matryona married Thaddeus's brother, Efim. But a few months later Thaddeus returned from Hungarian captivity. In his hearts, he threatened to chop Matryona and Yefim with an ax, then cooled down and took another Matryona from a neighboring village. They lived next door to her. Thaddeus was known in Talnovo as a domineering, stingy man. He constantly beat his wife, although he had six children from her. Matryona and Yefim also had six, but none of them lived more than three months. Yefim, leaving in 1941 for another war, did not return from it. Faddey's wife, Matryona, begged her youngest daughter, Kira, for ten years she raised her as her own, and shortly before Solzhenitsyn's appearance in Talnovo, she married her to a locomotive driver in the village of Cherusti. Matryona told the story of her two suitors to Alexander Isaevich herself, worrying at the same time as a young woman.

Kira and her husband in Cherusty had to get a piece of land, and for this they had to quickly erect some kind of structure. Old Thaddeus in the winter proposed to move there the upper room, attached to Matren's house. Matryona was going to bequeath this upper room to Kira anyway (and her three sisters marked the house). Under the persistent persuasion of the greedy Thaddeus, Matryona, after two sleepless nights, agreed during her lifetime, breaking part of the roof of the house, dismantling the upper room and transporting it to Cherusti. Before the eyes of the hostess and Solzhenitsyn, Faddey and his sons and sons-in-law came to the matrynin's yard, rattled with axes, creaked with planks that were torn off and dismantled the room into logs. The three sisters of Matryona, having learned how she succumbed to Thaddeus's persuasion, together called her a fool.

Matryona Vasilievna Zakharova is the prototype of the main character of the story

A tractor was driven from Cherustia. The logs of the room were loaded onto two sleighs. The fat-faced tractor driver, in order not to make an extra trip, announced that he would pull two sledges at once - so it was more profitable for him and for the money. Selfless Matryona herself, fussing, helped load the logs. Already in the dark, the tractor with difficulty pulled the heavy load from the mother's yard. The restless toiler did not stay at home even here - she ran away with everyone, to help along the way.

"A village is not worth it without a righteous man" - this is the original title of the story. The story has something in common with many works of Russian classical literature. Solzhenitsyn seems to transfer one of Leskov's heroes to the historical era of the 20th century, the post-war period. And all the more dramatic and tragic is Matryona's fate in the midst of this situation.

Matryona Vasilievna's life seems to be ordinary. She devoted all of her to work, selfless and hard work of the Cross-Yang. When the construction of collective farms began, she went there too, but due to illness she was released from there and now they were attracted when others refused. And she did not work for money, she never took money. Later, after her death, her sister-in-law, with whom the narrator settled, will remember evil, or rather, recall her this oddity of her.

But is Matryona's fate really so simple? And who knows what it is like to fall in love with a person and, without waiting for him, to marry another, unloved, and then see your betrothed a few months after the wedding? And then what is it like to live with him side by side, to see him every day, to feel guilty for his and his life that did not work out? The husband did not love her. She bore him six children, but none of them survived. And she had to take up the daughter of her beloved, but already a stranger. How much warmth and kindness accumulated in her, so much she invested in her adopted daughter Kira. Matryona experienced so much, but she did not lose that inner light that shone in her eyes, and a smile cast off. She did not hold any grudge against anyone and was only upset when she was offended. She is not angry with her sisters, who appeared only when everything in her life has already become happy. She lives as she is. That is why I have not saved up anything in my life except two hundred rubles for the funeral.

The turning point in her life was that they wanted to take away the room from her. She was not sorry for the good, she never regretted it. It was scary for her to think that they would destroy her house, in which her whole life flew by like an instant. She spent forty years here, and endured two wars, a revolution that flew by in echoes. And for her to break and take her upper room is to break and destroy her life. It was the end for her. The real ending of the novel is not accidental either. Human greed destroys Matryona. It hurts to hear the words of the author that Thaddeus, because of whose greed the business began, on the day of death and then Matryona's funeral, only thinks about the abandoned frame. He does not pity her, does not cry for the one whom he once loved so dearly.

Solzhenitsyn shows the era when the foundations of life were turned upside down, when property became the subject and purpose of life. The author not in vain asks the question why things are called "good", because it is, in fact, evil, and terrible. Matryona understood this. She did not pursue outfits, she dressed in a country style. Matryona is the embodiment of true national morality, universal human morality, on which the whole world rests.

So Matryona remained not understood by anyone, not really mourned by anyone. Only Kira alone cried not according to custom, but from the heart. They feared for her sanity. Material from the site

The story is masterfully written. Solzhenitsyn is a master of subject detailing. From small and seemingly insignificant details, he builds a special volumetric world. This world is visible and tangible. This world is Russia. We can say with precision where the village of Talnovo is located, but we perfectly understand that in this village is all of Russia. Solzhenitsyn combines the general and the particular and encloses this in a single artistic image.

Plan

1. The narrator gets a job as a teacher in Talnovo. Lives with Matryona Vasilievna.
2. Gradually, the narrator learns about her past.
3. Thaddeus comes to Matryona. He is busy with the upper room, which Matryona promised Kira, his daughter, brought up by Matryona.
4. When the log house is being transported across the railway tracks of Matryona, her nephew and husband Kira are killed.
5. There are long disputes over Matryona's hut and property. And the story-teller moves to her sister-in-law.

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There are always a lot of emotions, intellectual tension and discussions around the name of Alexander Isaevich Solzhenitsyn. Our contemporary, a troublemaker in stagnant hard times, an exile with unheard-of world fame, one of the "bison" of the literature of the Russian diaspora, Solzhenitsyn combines in his personality and creativity many principles that disturb our consciousness. This is also characteristic of the story of the writer "Matrenin Dvor". The story centers on the fate of a village woman.

By the will of circumstances, after his release from the Stalinist camps, the writer came into contact with the fate of an old lonely woman. Having worked all her life on a collective farm not for money, but for "sticks", she did not receive a pension. The meager decoration and the only decoration of her hut were pots and tubs of figs, a dull mirror and two bright cheap posters on the wall. In her declining years, seriously ill, Matryona has no rest and is forced literally in the sweat of her brow to get herself a piece of bread. Without any special language, the author tells how this woman endlessly long and persistently, almost every day, overcomes the long way to the village council, bustling about a pension. And it is not because Matryona's case is not progressing because she did not deserve it from the state. The reason for the futility of these efforts is, unfortunately, common. In the story, we come across a completely everyday picture: “He goes to the village council, but there is no secretary today, and just like that, there is no, as it happens in villages. Tomorrow, then, go again. Now there is a secretary, but he has no seal. The third day, go again. And the fourth day, go because blindly they signed the wrong piece of paper. "

The story clearly enough reveals the relationship between power and a person. Matryona has only one goat, but for her to collect hay is a “great work”. “At the canvas,” explains Matryona, “don’t mow - there are your own masters, and there’s no mowing in the forest — the forestry is the owner, and they don’t tell me on the collective farm — not a collective farmer, they say, now ... The chairman is new, recent, sent from the city, first of all cut off vegetable gardens for all disabled people. Fifteen acres of sand for Matryona, and ten acres was still empty behind the fence.

But it is even more difficult for an old woman to get hold of fuel: “We stood around the forest, but there was nowhere to take the firebox. Excavators roared around in the swamps, but they did not sell peat to the residents, but only carried them to the bosses, and whoever was under the bosses, but by car - to teachers, doctors, factory workers. Fuel was not supposed to be, and it was not supposed to ask about it. The collective farm chairman walked around the village, looking demandingly in the eyes, or dimly, or innocently, talking about anything but fuel. Because he himself has stocked up ... ". So the village women had to gather several people for courage and carry peat in secret in sacks. Sometimes two poods were carried for three kilometers. “My back never heals,” Matryona admits. - In winter, the sled on yourself, in the summer bundles on yourself, by God, really! ”. Moreover, fear is a constant companion of her already bleak life: sometimes they went around the village with a search - looking for illegal peat. But the coming cold again drove Matryona to look for fuel at night. In measured, colorful sketches, the image of not only a lonely and disadvantaged woman, but also a person with an immensely kind, generous and selfless soul, gradually appears before us. Having buried six children, having lost her husband at the front, and sick, Matryona has not lost the ability to respond to someone else's needs. Not a single plowing in the village was complete without her. Together with other women, she harnessed to the plow and dragged it on herself. Matryona could not refuse help to a single relative, close or distant, often leaving her urgent affairs. Not without some surprise, the narrator also notices how she sincerely rejoices at someone else's good harvest, although she herself never has this on the sand. In essence, having nothing, this woman knows how to give. She is embarrassed and worried, trying to please her guest: she cooks larger potatoes for him in a separate pot - this is the best she has.

If in the first part of Matryona's work and her life is described through the perception of the narrator, then in the second the heroine herself talks about herself, about her past, recalls youth, love. In her youth, fate dealt with Matryona abruptly: she did not wait for her beloved, who was missing in the war. The death of Fadey's mother and the matchmaking of his younger brother, as it were, determined her fate. And she decided to enter the house where, it seemed, her soul had settled for a long time and forever. And yet Matryona was not thinking of herself then: "Their mother died ... They did not have enough hands." Did Fadey, who soon returned from Hungarian captivity, understand her sacrifice? His terrible, cruel threat: "... if it weren't for my dear brother, I would have chopped both of you," which Matryona remembers decades later, makes her guest shudder. For ten years Matryona was raising "the blood of Fadey" - his youngest daughter Kira. She got married herself. She gives the upper room to her pupil. It is not easy for her to decide to destroy the house in which she lived for forty years. And although for her herself this means the end of her life, she does not feel sorry for "the upper room, which stood idle, as in general Matryona never regretted either work or her good."

However, everything ends tragically: Matryona dies, and with her one of Fadey's sons and a tractor driver. The writer depicts the shock of people from what happened at the railway crossing. And only one Fadey is completely absorbed in another desire - to save the abandoned logs of the upper room. This is what "tormented the soul of the black-bearded Fadey all Friday and all Saturday." His daughter was going crazy, his son-in-law was threatened with trial, his dead son lay in his own house, on the same street - the woman he had killed, whom he once loved - Fadey only came to stand at the coffins for a short while. His high forehead was overshadowed by a heavy thought, but this thought was - how to "save the logs of the upper room from the fire and the machinations of Matryona's sisters."

Why are they so different - Fadey and Matryona? In the sympathetic and at the same time indignant tone of the story, this question sounds like all the time. The answer lies in the very juxtaposition of the heroes: no matter how hard and inevitable fate is, it only more vividly manifests the measure of the human in each of the people. The content of the story convinces that Solzhenitsyn's ideological and artistic search is in line with the Christian Orthodox worldview. In his story, he reflects different aspects of the life of the Russian village of the 50s, but still the dominant in it is the moral and spiritual content. Solzhenitsyn's heroine is devoutly devout, although the narrator notes that she has never even seen her pray. But all Matryona's actions and thoughts are disinterested and, as it were, surrounded by an aura of holiness, which is not always clear to those around her. This is why people have such different attitudes towards her. All the reviews of the sister-in-law, for example, are disapproving: “… and she was unscrupulous; and did not pursue the purchase; and not gentle; and she didn't even keep a pig ... and she was stupid and helped strangers for free ... And even about Matryona's cordiality and simplicity, which her sister-in-law recognized for her, she spoke with contemptuous regret. " But such a wonderful Matryona, although not very much, was dear. Fadey's son confesses to the tenant that he loves his aunt very much. The pupil Kira is inconsolable in grief when Matryona dies. The peculiarity of "Matryona's Dvor" is that the main character is revealed in it not only through the perception of the guest and not only through his personal relationship with her. The reader will recognize Matryona also through her participation in the events taking place, in the description of which the author's voice is heard, but it sounds even more clearly in the description of what is happening in front of the narrator. And here the voices of the author and the narrator become almost indistinguishable. It is the author who allows us to see the heroes in extreme conditions, when the narrator himself becomes an active actor.

It is impossible not to notice with what selflessness Matryona rolls heavy logs onto the sled. The author describes the troubles of this woman to the smallest detail. It is here that we first see not that Matryona who is unfairly deprived of fate, offended by people and power, but the one who, in spite of everything, retained the ability to love and do good. Describing it, the author notes: "Those people always have good faces, who are in harmony with their consciences." The righteous peasant woman lived surrounded by malevolent and selfish collective farmers. Their wretched and miserable life was not much different from the existence of camp prisoners. They lived according to the primordially established order. Even after the death of Matryona, who did so much good for everyone, the neighbors were not particularly worried, although they cried, and they went to her hut with their children, as if to a play. "Those who considered themselves dearer to the deceased began to cry from the threshold, and when they reached the coffin, they bent down to cry over the very face of the deceased." The crying of relatives was "a kind of politics": in it everyone expressed their own thoughts and feelings. And all these lamentations boiled down to the fact that "we are not to blame for her death, but we will talk about the hut again!" It is a pity that the language calls our property good, national or ours. And losing it is considered shameful and stupid before people.

It’s impossible to read the story “Matrenin's Dvor” without tears. This sad story of a righteous peasant woman is not an artistic invention of the author, but is taken from real life. Best of all, the writer himself said about his heroine: “We are all next to her and did not understand that she is the very righteous person without whom, according to the proverb, the village is not worth it. Neither the city nor the whole land is ours. " These words express the main idea of \u200b\u200bthe story.

The story “Matryonin's Dvor” was written by Solzhenitsyn in 1959. The first title of the story is “A village is not worth a righteous man” (Russian proverb). The final version of the name was invented by Tvardovsky, who was at that time the editor of the Novy Mir magazine, where the story was published in No. 1 for 1963. At the insistence of the editors, the beginning of the story was changed and the events were attributed not to 1956, but to 1953. that is, to the pre-Khrushchev era. This is a bow to Khrushchev, thanks to whose permission Solzhenitsyn's first story "One Day in Ivan Denisovich" (1962) was published.

The image of the narrator in Matryonin's Dvor is autobiographical. After Stalin's death, Solzhenitsyn was rehabilitated, he actually lived in the village of Miltsevo (Talnovo in the story) and rented a corner from Matryona Vasilyevna Zakharova (Grigorieva in the story). Solzhenitsyn very accurately conveyed not only the details of the life of the prototype of Marena, but also the peculiarities of everyday life and even the local dialect of the village.

Literary direction and genre

Solzhenitsyn developed the Tolstoyan tradition of Russian prose in a realistic direction. The story combines the features of an artistic sketch, the story itself and elements of a life. The life of the Russian countryside is reflected so objectively and diversely that the work comes close to the genre of a "novel-type story". In this genre, the character of the hero is shown not only at a turning point in his development, but also the history of the character, the stages of his formation. The fate of the hero reflects the fate of the entire era and country (as Solzhenitsyn says, the land).

Problematic

In the center of the story are moral issues. Are many human lives worth the seized plot or the human greedy decision not to make a second trip with a tractor? Material values \u200b\u200bare valued by the people higher than the person himself. Thaddeus lost a son and a once beloved woman, his son-in-law is threatened with prison, and his daughter is inconsolable. But the hero thinks about how to save the logs that the workers did not manage to burn at the crossing.

Mystical motives are at the center of the story. This is the motive of the unrecognized righteous man and the problem of cursing on things that are touched by people with unclean hands who pursue selfish goals. So Thaddeus undertook to bring down Matryonin's room, thereby making her cursed.

Plot and composition

The story "Matryonin's yard" has a time frame. In one paragraph, the author tells that at one of the crossings and 25 years after a certain event, trains slow down. That is, the frame refers to the early 80s, the rest of the story is an explanation of what happened at the move in 1956, in the year of the Khrushchev thaw, when "something has moved."

The hero-storyteller finds the place of his teaching in an almost mystical way, having heard a special Russian dialect in the bazaar and settled in "kondova Russia", in the village of Talnovo.

In the center of the plot is Matryona's life. The narrator learns about her fate from herself (she talks about how Thaddeus, who disappeared in the first war, wooed her, and how she married his brother, who disappeared in the second). But the hero learns more about the silent Matryona from his own observations and from others.

The story describes in detail Matryona's hut, standing in a picturesque place by the lake. Izba plays an important role in Matryona's life and death. To understand the meaning of the story, you need to imagine a traditional Russian hut. Matryona's hut was divided into two halves: a living hut with a Russian stove and an upper room (it was built for the eldest son to separate him when he gets married). It is this room that Thaddeus dismantles in order to build a hut for Matryona's niece and his own daughter Kira. The hut in the story is animated. Wallpaper that has lagged behind the wall is called its inner skin.

Ficuses in tubs are also endowed with lively features, reminding the narrator of a silent but living crowd.

The development of action in the story is a static state of harmonious coexistence of the narrator and Matryona, who “find the meaning of everyday existence not in food”. The culmination of the story is the moment of the destruction of the upper room, and the work ends with the main idea and a bitter omen.

Heroes of the story

The hero-narrator, whom Matryona calls Ignatic, makes it clear from the first lines that he has arrived from places of detention. He is looking for a job as a teacher in the wilderness, in the Russian countryside. Only the third village satisfies him. Both the first and the second turn out to be corrupted by civilization. Solzhenitsyn makes it clear to the reader that he condemns the attitude of Soviet bureaucrats towards man. The narrator despises the authorities that do not appoint Matryona a pension, forcing her to work on the collective farm for sticks, not only not providing peat for the furnace, but also forbidding her to ask about it. He instantly decides not to extradite Matryona, who brewed moonshine, hides her crime, for which she faces prison.

Having experienced and seen a lot, the narrator, embodying the author's point of view, acquires the right to judge everything that he observes in the village of Talnovo - a miniature incarnation of Russia.

Matryona is the main character of the story. The author says about her: "Those people have good faces who are in harmony with their consciences." At the moment of meeting Matryona's face is yellow, and her eyes are clouded with disease.

To survive, Matryona grows small potatoes, secretly brings forbidden peat from the forest (up to 6 bags a day) and secretly mows hay for her goat.

In Matryona there was no woman's curiosity, she was delicate, she did not annoy with questions. Matryona today is a lost old woman. The author knows about her that she got married even before the revolution, that she had 6 children, but everyone quickly died, "so two did not live right away." Matryona's husband did not return from the war, but went missing. The hero suspected that he had a new family somewhere abroad.

Matryona had a quality that distinguished her from the rest of the village: she disinterestedly helped everyone, even the collective farm, from which she was expelled due to illness. There is much mystical in her image. In her youth, she could lift bags of any weight, stopped a horse at a gallop, anticipated her death, fearing steam locomotives. Another omen of her death is a bowler hat with holy water that disappeared out of nowhere for Epiphany.

Matryona's death seems to be an accident. But why, on the night of her death, the mice rush about like mad? The narrator suggests that it was 30 years later that Matryona's brother-in-law Thaddeus threatened to chop Matryona and his own brother who married her.

After death, Matryona's holiness is revealed. The mourners notice that she, completely crushed by the tractor, has only her right hand left to pray to God. And the narrator pays attention to her face, which is rather alive than dead.

The villagers speak of Matryona with disdain, not understanding her disinterestedness. The sister-in-law considers her unscrupulous, not careful, not inclined to accumulate good, Matryona did not seek her own benefit and helped others for free. Even Matryonin's cordiality and simplicity were despised by her fellow villagers.

Only after his death, the narrator realized that Matryona, “not chasing a plant,” indifferent to food and clothing, is the basis, the core of all Russia. On such a righteous man stands a village, a city and a country ("all our land"). For the sake of one righteous man, as in the Bible, God can spare the earth, keep it from fire.

Artistic originality

Matryona appears before the hero as a fabulous creature, like Baba Yaga, who reluctantly gets off the stove to feed the passing prince. She, like a fairy-tale grandmother, has animal helpers. Shortly before Matryona's death, the bent-legged cat leaves the house, the mice, anticipating the death of the old woman, rustle especially. But cockroaches are indifferent to the fate of the mistress. Following Matryona, her favorite ficuses, similar to a crowd, die: they are of no practical value and are taken out into the cold after Matryona's death.

The story of Alexander Isaevich Solzhenitsyn "Matrenin's Yard" is a work based on real events, one might say autobiographical. Indeed, after returning from the camp, the author worked in a rural school and lived in the house of Matryona Vasilyevna Zakharova, with whom the image of the heroine of the same name was written off in full, right down to the biography and circumstances of death.

The very title of the story "Matrenin's yard" can be interpreted in different ways. In the first case, for example, the word "yard" can simply mean Matryona's way of life, her household, her purely domestic concerns and difficulties. In the second case, perhaps, we can say that the word "yard" focuses the reader's attention on the fate of Matryona's house itself, Matryona's own household yard. In the third case, the "yard" symbolizes the circle of people who were somehow interested in Matryona.

In each of the above meanings of the word "courtyard", there is undoubtedly the tragedy that is inherent, perhaps, in the way of life of every woman who looks like Matryona, but nevertheless in the third meaning, it seems to me, the tragedy is greatest, since here it is already it is not about the difficulties of life and not about loneliness, but about the fact that even death cannot make people think one day about justice and a proper attitude towards human dignity. Much stronger fear for themselves, their life, prevails in people, without the help of the other, whose fate they never worried.

"Then I learned that crying over the deceased is not just crying, but a kind of dung. Three sisters of Matryona came together, seized the hut, the goat and the stove, locked her chest, gutted two hundred funeral rubles from the lining of the coat, and told everyone that they alone were close to Matryona. " I think that in this case all three meanings of the word "yard" are added, and each of these meanings reflects one or another tragic picture: the soullessness, deadness of the "living yard", which surrounded Matryona during her lifetime and further divided her household; the fate of Matryona's hut herself after Matryona's death and during Matryona's life; the absurd death of Matryona.

The main feature of Solzhenitsyn's literary language is that Alexander Isaevich himself gives an explanatory interpretation of many of the lines of the heroes of the story, and this reveals for us the veil behind which lies the very mood of Solzhenitsyn, his personal attitude towards each of the heroes. However, I got the impression that the author's interpretations have a somewhat ironic character, but at the same time, they seem to synthesize replicas and leave in them only the ins and outs, the true meaning:

"Oh, auntie-aunt! And how did you not take care of yourself! And, probably, now they are offended by us! And you are our dear, and all your fault! And the room has nothing to do with it, and why did you go there, where did death guard you? And no one called you there! And how did you die - did not think! And why did you not obey us? ... (And from all these lamentations, he stuck out the answer: we are not to blame for her death, but we will talk about the hut again !) ".

Reading between the lines Solzhenitsyn's story, one can understand that Alexander Isaevich himself draws completely different conclusions from what he heard than those that could be expected. "And only then - from these disapproving reviews of my sister-in-law - an image of Matryona emerged in front of me, which I did not understand her, even living with her side by side. We all lived next to her and did not understand that she was the same righteous person without whom , according to the proverb, the village is not worth it. "

The life of a hardworking, kind, but very lonely woman, whom no one understood or appreciated, but everyone tried to take advantage of her hard work and responsiveness, tragically ended. The hero of the story bitterly regrets that he understood his mistress too late - but the rest of the village did not understand this even after her death. The image of Matryona is a living opposition to the reality that in Solzhenitsyn's story is expressed through anger, envy and human greed. The whole life of this simple Russian woman asserts the possibility of the existence of righteousness even when surrounded by darkness and filth. In my opinion, once you have read this story, you can neither forget it, nor yourself remain the same.

The work of the Russian Soviet prose writer A.I. Solzhenitsyn belongs to the brightest and most significant pages of our literature. His main merit before the readers is that the author made the people think about their past, about the dark pages of history, told the cruel truth about many inhuman orders of the Soviet regime and revealed the origins of the lack of spirituality of the subsequent - post-perestroika - generations. The story "Matryonin Dvor" is most indicative in this regard.

History of creation and autobiographical motives

So, the history of creation and analysis. "Matrenin Dvor" refers to stories, although its size significantly exceeds the traditional framework of the above. It was written in 1959, and published thanks to the efforts and efforts of Tvardovsky, the editor of the most progressive literary magazine at that time, "Novy Mir" - in 1963. Four years of waiting is a very short period for a writer who has served time in camps with the stigma "enemy of the people" and disgraced after the publication of "One Day in Ivan Denisovich".

Let's continue the analysis. Progressive criticism considers "Matrenin Dvor" even more powerful and significant work than "One Day ...". If in the story about the fate of the prisoner Shukhov the reader was captured by the novelty of the material, the boldness of the choice of the topic and its presentation, the accusatory power, then the story about Matryona amazes with amazing language, mastery of the living Russian word and that highest moral charge, pure spirituality, which fill the pages of the work. Solzhenitsyn planned to name the story like this: "A village is not worth a righteous man," so that the main theme and idea were initially announced. But the censorship would hardly have missed a name so shocking for Soviet atheistic ideology, because the writer inserted these words at the end of his work, heading it by the name of the heroine. However, the story only benefited from the rearrangement.

What else is important to note while continuing the analysis? "Matrenin Dvor" belongs to the so-called village literature, rightly noting its fundamental importance for this trend in Russian verbal art. The author's integrity and artistic veracity, a firm moral position and heightened conscientiousness, the inability to compromise, as required by the censors and the conjuncture, became the reason for the further silence of the story, on the one hand, and a vivid, living example for writers - contemporaries of Solzhenitsyn, on the other. corresponds to the subject matter of the work as fully as possible. Yes, and it could not be otherwise, telling about the righteous Matryona, an elderly peasant woman from the village of Talnovo, who lives in the most "interior", primordially Russian outback.

Solzhenitsyn was personally acquainted with the prototype of the heroine. In fact, he talks about himself - a former military man who spent a decade in camps and in a settlement, immensely tired of the hardships and injustices of life and longing to rest his soul in a calm and simple provincial silence. And Matryona Vasilyevna Grigorieva is Matryona Zakharova from the village of Miltsevo, in whose hut Alexander Isaevich was renting a corner. And Matryona's life from the story is a somewhat artistically generalized fate of a real simple Russian woman.

Theme and idea of \u200b\u200bthe work

Whoever read the story will not be hampered by the analysis. “Matryona's yard” is a kind of parable about an unmercenary woman, a woman of tremendous kindness and gentleness. Her whole life is serving people. She worked on the collective farm for "sticks-workdays", lost her health, and did not receive a pension. It is difficult for her to go to the city, to bother, and she does not like to complain, cry, the more so to demand something. But when the collective farm chairman demands to go to work on harvesting or weeding, no matter how bad Matryona felt, she still went, helped the common cause. And if the neighbors asked to help dig potatoes, she also behaved. I never took payment for labor, I was heartily happy about someone else's rich harvest and did not envy when my own potatoes were small, like fodder.

"Matrenin Dvor" is a composition based on the author's observations of the mysterious Russian soul. This is the soul of the heroine. Outwardly nondescript, living extremely poor, almost poverty-stricken, she is unusually rich and beautiful in her inner world, her enlightenment. I never chased after wealth, and all her goodness is a goat, a gray knuckle-footed cat, ficuses in the upper room and cockroaches. Having no children of her own, she raised and raised Kira, the daughter of her former groom. She gives her part of the hut, and during transportation, helping, dies under the wheels of the train.

An analysis of the work "Matrenin's Dvor" helps to reveal an interesting pattern. During life, people like Matryona Vasilyevna cause bewilderment, irritation, condemnation in others and relatives. The same sisters of the heroine, "mourning" her, lament that there is nothing left after her of things or other wealth, they have nothing to profit from. But with her death, it was as if some light went out in the village, as if it became darker, dull, sadder. After all, Matryona was that righteous woman on whom the world rests, and without which neither the village, nor the city, nor the Earth itself stands.

Yes, Matryona is a feeble old woman. But what will happen to us when such last guardians of humanity, spirituality, warmth and kindness disappear? This is what the writer invites us to think about ...

In the summer of 1956, the hero of the story, Ignatyevich, returned to Central Russia from the Asian camps. In the story, he is endowed with the function of a narrator. The hero works as a teacher in a rural school and settles in the village of Talnovo in the hut of the sixty-year-old Matryona Vasilyevna Grigorieva. The tenant and the hostess turn out to be people who are spiritually close to each other. In Ignatyich's story about Matryona's everyday life, in the assessments of the people around her, in her actions, judgments and memories of her experiences, the fate of the heroine and her inner world are revealed to the reader. Matryona's fate, her image become for the hero a symbol of fate and the image of Russia itself.

In winter, relatives of Matryona's husband take part of the house - the upper room - from the heroine. During the transportation of the dismantled room, Matryona Vasilyevna dies at a railway crossing under the wheels of a steam locomotive, trying to help the men take out the stuck sled with logs from the crossing. Matryona appears in the story as a moral ideal, as the embodiment of the high spiritual and moral principles of folk life, displaced by the course of history. In the eyes of the hero-narrator, she is one of those righteous people on whom the world stands.

With its genre features, Solzhenitsyn's story approaches an essay and goes back to the Turgenev tradition of the Hunter's Notes. Along with this, "Matrenin Dvor", as it were, continues the tradition of Leskov's stories about the Russian righteous. In the author's version, the story was called “A village is not worth a righteous man”, but it was first published under the title “Matrenin's Dvor”.

The fate of the hero-narrator of Solzhenitsyn's story "Matrenin's Yard" is correlated with the fate of the heroes of the story "One Day in Ivan Denisovich." Ignatyich, as it were, continues the fate of Shukhov and his fellow prisoners. His story tells what awaits the prisoners in life after release. Therefore, the first important problem in the story is the problem of the hero's choice of his place in the world.

Ignatyevich, who spent ten years in prison and a camp, after living in exile in the "dusty hot desert", seeks to settle in a quiet corner of Russia, "where it would not hurt to live and die." The hero wants to find a place in his native land that would preserve the original features and signs of folk life unchanged. Ignatyich hopes to find spiritual and moral support, peace of mind in the traditional national way of life, which has withstood the destructive impact of the inexorable course of history. He finds it in the village of Talnovo, settling in the hut of Matryona Vasilyevna.

What explains this choice of the hero?

The hero of the story refuses to accept the terrible inhuman absurdity of existence, which has become the norm in the life of his contemporaries and has manifold manifestations in the everyday life of people. Solzhenitsyn shows this with the mercilessness of a publicist in his story "Matrenin's Dvor". One example is the disorderly, nature-destroying actions of the collective farm chairman, who was awarded the title of Hero of Socialist Labor for the successful destruction of centuries-old forests.

The tragic fate of the hero is also a consequence of the abnormal course of history, the illogical way of life. The absurdity and unnaturalness of the new way of life is especially noticeable in cities and industrial settlements. Therefore, the hero seeks to the outback of Russia, wants to "settle ... forever" "somewhere far from the railroad." The railway is a traditional for Russian classical literature a symbol of the soulless, bringing destruction and death to a person of modern civilization. In this sense, the railway appears in Solzhenitsyn's story.

At first, the hero's desire seems unrealizable. He notes with bitterness both in the life of the village of Vysokoe Pole and in the village of Torfoprodukt (“Ah, Turgenev did not know that one could make such a thing in Russian!” - says the narrator about the name of the village) the terrible realities of the new way of life. Therefore, the village of Talnovo, Matryona's house and she herself become for the hero the last hope, the last opportunity to realize his dream. Matrenin's yard becomes for the hero the desired embodiment of that Russia, which was so important for him to find.

In Matryona Ignatyevich sees the spiritual and moral ideal of the Russian person. What character traits and personality traits of Matryona make it possible to see in her the embodiment of the high spiritual and moral principles of popular life, displaced by the course of history? What narrative techniques are used to create an image of the heroine in the story?

First of all, we see Matryona in an everyday environment, in a series of daily worries and deeds. Describing the actions of the heroine, the narrator seeks to penetrate their hidden meaning, to understand their motives.

In the story about the first meeting of Ignatyich and Matryona, we see the heroine's sincerity, simplicity, and disinterestedness. “I only learned later,” says the narrator, “that year after year, for many years, Matryona Vasilyevna never earned a ruble from anywhere. Because she was not paid her pension. Her family did not help her much. And on the collective farm she did not work for money - for sticks. " But Matryona does not seek to get a profitable tenant. She fears that she will not be able to please a new person, that he will not like it in her house, which she directly speaks to the hero. But Matryona is pleased when Ignatyich still stays with her, because with a new person her loneliness comes to an end.

Matryona is characterized by inner tact and delicacy. Getting up long before the guest, she “quietly, politely, trying not to make noise, heated the Russian stove, went to milk the goat,” “she did not invite guests to her house in the evenings, respecting my occupations,” says Ignatyich. In Matryona there is no "woman's curiosity", she "did not annoy the hero with any questions". Ignatyevich is especially captivated by Matryona's benevolence, her kindness is revealed in a disarming "radiant smile" that transforms the whole appearance of the heroine. “Those people always have good faces who are in harmony with their conscience,” the narrator concludes.

“Deeds called to life,” the narrator says about Matryona. The work becomes for the heroine and a way to restore peace in her soul. “She had a sure way to regain her good spirits - work,” the narrator notes.

Working on a collective farm, Matryona did not receive anything for her labor, helping her fellow villagers, refused money. Her work is selfless. Working for Matryona is as natural as breathing. Therefore, the heroine considers it inconvenient and impossible to take money for her work.

A new way of creating the image of Matryona is the introduction of the heroine's memories into the narrative. They demonstrate new facets of her personality, in them the heroine is revealed in full.

From Matryona's memoirs, we learn that in her youth, like the heroine of Nekrasov, she stopped a horse at a gallop. Matryona is capable of a decisive, even desperate act, but behind this is not a love of risk, not recklessness, but a desire to avert trouble. The desire to ward off trouble, to help people will be dictated by the behavior of the heroine in the last minutes of her life before her death, when she rushed to help the peasants pull out the sledges stuck at the railway crossing. Matryona remains true to herself to the end.

“But Matryona was by no means fearless,” the narrator notes. “She was afraid of the fire, she was afraid of the 'molon', and most of all, for some reason, of the train." One type of train "throws Matryona into a fever, her knees are shaking." The panicky fear experienced by Matryona from one type of train, which at first evokes a smile, towards the end of the story, after the death of the heroine under its wheels, takes on the meaning of a tragically correct premonition.

In the heroine's memories of her experiences, it is revealed that she has a sense of her own dignity, cannot bear insults and strongly protests when her husband raised his hand to her.

The outbreak of the First World War separates her from her beloved, Thaddeus, and predetermines the entire subsequent tragic course of Matryona's life. For three years, new tragedies have taken place in the life of Russia: “And one revolution. And another revolution. And the whole world turned over. " Matryona's life also turned upside down. Like the rest of the country, Matryona faces a “terrible choice”: she must choose her own destiny, answer the question: how to live on? The younger brother of Thaddeus, Efim, wooed Matryona. The heroine married him - she began a new life, chose her own destiny. But the choice was wrong. Six months later Thaddeus returns from captivity. In the disastrous game of the passions that gripped him, Thaddeus is ready to kill Matryona and her chosen one. But Thaddeus is stopped by a moral prohibition that still exists in life - he does not dare to go against his brother.

There is no turning back for the heroine. Matryona's choice does not bring her happiness. New life does not add up, her marriage is fruitless.

In 1941, World War II broke out again, and the tragedy experienced during the First World War was repeated in Matryona's life. As in the first war Matryona lost her beloved, so in the second she loses her husband. The inexorable passage of time dooms Matryona's yard to death: “The once noisy, but now deserted hut was rotting and growing old - and the houseless Matryona was getting old in her”.

Solzhenitsyn reinforces this motive, showing that the terrible inhuman absurdity of existence, which has become the norm for people in the new historical era and the salvation from which the hero was looking for in Matryona's house, did not escape the heroine. The new way of life persistently invades Matryona's life. Eleven post-war years of collective farm life were marked by the aggressive, inhuman stupidity and cynicism of the collective farm order. It seems that a survival experiment was being carried out over Matryona and her fellow villagers: the collective farm did not pay money for labor, "cut off" personal gardens, did not provide mowing for livestock, and deprived of fuel for the winter. A triumph of the absurdity of collective farm life appears in the story of the listing of the property of Matryona, who has worked on the collective farm for many years: "a dirty white goat, a bumpy cat, ficuses." But Matryona managed to overcome all hardships and hardships and keep the peace of her soul unchanged.

The house of Matryona and its mistress appear as opposed to the surrounding world, the illogical and unnatural way of life that has taken root in it. The world of people feels this and takes cruel revenge on Matryona.

This motive receives a plot development in the story of the destruction of Matrenin's yard. Contrary to fate, which doomed her to loneliness, Matryona raised Thaddeus' daughter, Kira, for ten years, and became her second mother. Matryona decided: after her death, half of the house, the upper room, should be inherited by Kira. But Thaddeus, with whom Matryona once wanted to connect her life, decides to take the room during the life of her mistress.

In the actions of Thaddeus and his assistants, Solzhenitsyn sees a manifestation of the triumph of a new way of life. The new way of life has formed a special attitude to the world, determined the new nature of human relationships. The terrible inhumanity and absurdity of human existence is revealed by the author in the substitution of concepts that has become firmly established in the minds of his contemporaries, when the language terribly calls our property our property "good". In the plot of the story, this "good" turns into an all-crushing evil. The pursuit of such “good”, which “is considered shameful and stupid for people to lose,” turns into a different story, an immeasurably greater loss of genuine and lasting good: the world loses a kind, beautiful person - Matryona, high spiritual and moral principles are lost in life. A desperate and reckless pursuit of "good property" brings death to the human soul, calls for life the terrible destructive properties of human nature - selfishness, cruelty, greed, aggressiveness, greed, cynicism, pettiness. All these base passions will manifest themselves in the people surrounding Matryona, determining their behavior in the history of the destruction of her house and the death of herself. The soul of Matryona, her inner world is opposed to the souls and inner world of the people around her. Matryona's soul is beautiful because, Solzhenitsyn believes, that the purpose of Matryona's life was not good-property, but good-love.

In Solzhenitsyn's story, Matryona's house becomes a symbol of the harmonious traditional way of peasant life, high spiritual and moral values, of which Matryona is the keeper. Therefore, she and the house are inseparable. The heroine intuitively senses this: “It was terrible for her to start breaking the roof under which she lived for forty years. ... for Matryona it was the end of her whole life, ”the narrator concludes. But Thaddeus and his assistants think differently. Nothing holds back the hero's disastrous passions - there are no more previously existing moral prohibitions on their way. They "knew that her house could be broken in her lifetime."

Matrenin's yard, in which the hero of the story gained spiritual and moral support, becomes the last stronghold of the traditional national way of life, which has never been able to resist the destructive impact of the inexorable course of history.

The destruction of Matryona's house becomes in the story a symbol of the disruption of the natural course of historical time, fraught with catastrophic upheavals. Thus, the death of Matrenin's court becomes an accusation of a new historical era.

The final chord in creating the image of the heroine becomes in the finale of the story, after Matryona's death, comparing her with the people around her. The tragic death of Matryona was supposed to shock people, make them think, awaken their souls, shake the veil from their eyes. But that doesn't happen. The new way of life has devastated the souls of people, their hearts have hardened, there is no place for compassion, empathy, and genuine sorrow in them. This is shown by Solzhenitsyn at the rites of farewell, funeral, Matryona's commemoration. The ceremonies lose their lofty, mournful tragic meaning; only the ossified form is left of them, which is mechanically repeated by the participants. The tragedy of death is not able to stop in people their mercantile and vain aspirations.

Matryona's loneliness during her life after her death takes on a special and new meaning. She is lonely because the spiritual and moral world of Matryona objectively, against the will of the heroine, opposes the values \u200b\u200bof the world of the people around her. Matryona's world was alien and incomprehensible to them, aroused irritation and condemnation. So the image of Matryona allows the author to show in the story the moral ill-being and spiritual emptiness of modern society.

The narrator's acquaintance with the people around Matryona helps him to fully understand her high mission in the human world. Matryona, who did not accumulate property, endured cruel trials and resisted her spirit, is “the very righteous man without whom, according to the proverb, the village does not stand.

Not a city.

Not all our land. "

Lesson topic: Alexander Isaevich Solzhenitsyn.

Analysis of the story "Matrenin's yard".

The purpose of the lesson: try to understand how the writer sees the phenomenon of the "common man", to understand the philosophical meaning of the story.

During the classes:

1. Teacher's word.

History of creation.

The story "Matrynin's Dvor" was written in 1959 and published in 1964. "Matrenin's Dvor" is an autobiographical and authentic work. The original title is "A village is not worth a righteous man." Published in Novy Mir, 1963, no.

This is a story about the situation in which he found himself after returning "from the dusty hot desert", that is, from the camp. He wanted to “get lost in Russia”, to find “a quiet corner of Russia”. The former prisoner could only be hired for hard work, he also wanted to teach. After rehabilitation in 1957, S. worked for some time as a physics teacher in the Vladimir region, lived in the village of Miltsevo with the peasant woman Matryona Vasilyevna Zakharova.

2. Conversation by story.

1) The name of the heroine.

- Which Russian writer of the 19th century had the main character of the same name? With what female images in Russian literature could you compare the heroine of the story?

(Answer: the name of Solzhenitsyn's heroine brings to mind the image of Matryona Timofeevna Korchagina, as well as the images of other Nekrasov women - workers: just like them, the heroine of the story “is dexterous to any work, she had to stop a galloping horse and into a burning hut to enter. ”There is nothing in her appearance from a stately Slav, you cannot call her a beauty. She is modest and not noticeable.)

2) Portrait.

- Is there a detailed portrait of the heroine in the story? What portrait details does the writer focus on?

(Answer: Solzhenitsyn does not give an expanded portrait of Matryona. From chapter to chapter, only one detail is repeated most often - a smile: "a radiant smile", "a smile of her roundish face", "smiled at something", "an apologetic half-smile." not so much the external beauty of a simple Russian peasant woman as the internal light streaming from her eyes, and all the more clearly to emphasize her thought, expressed directly: “Those people always have good faces, who are in harmony with their conscience.” Therefore, after the terrible death of the heroine, her face remained intact, calm, more alive than dead.)

3) The speech of the heroine.

Write down the most typical statements of the heroine. What are the features of her speech?

(Answer: Matryona's deeply popular character is manifested, first of all, in her speech. Expressiveness, bright individuality gives her language an abundance of vernacular, dialectal vocabulary and archaism (2 - days I will be in time, for a bit too much, any, letos obapol, help, bad). That was what everyone in the village used to say. Matryona's manner of speech is also deeply popular, the way she pronounces her "benevolent words." "They began with some low, warm purr, like grandmothers in fairy tales."

4) Matryona's life.

- What artistic details create a picture of Matryona's life? How are household items related to the spiritual world of the heroine?

(Answer: Outwardly, Matryona's life is striking in its unsettledness ("she lives in a run-down") All her wealth of ficuses, a bent-legged cat, a goat, mice and cockroaches, a coat made from a railway overcoat. But it is also important that these scant household details reveal her special world. It is no coincidence that the ficus says: "They filled the loneliness of the hostess. They grew freely ..." - and the rustling of cockroaches is compared to the distant sound of the ocean. It seems that nature itself lives in Matryona's house, all living things are drawn to her).

5) The fate of Matryona.

Restore the life story of Matryona? How does Matryona perceive her fate? What role does work play in her life?

(Answer: The events of the story are limited by a clear time frame: summer-winter 1956. Restoring the fate of the heroine, her life dramas, personal troubles, one way or another, are connected with the turns of history: With the First World War, in which Thaddeus was captured, with the Great Patriotic, with which her husband did not return, with a collective farm, which survived all the forces from her and left her without a livelihood. Her fate is a particle of the fate of the whole people.

And today the inhuman system does not let Matryona go: she was left without a pension, and she is forced to spend whole days obtaining various certificates; peat is not sold to her, forcing her to steal, and even on a denunciation they go with a search; the new chairman cut off vegetable gardens for all disabled people; cows cannot be brought in, since they are not allowed to mow anywhere; they don't even sell train tickets. Matryona does not feel justice, but she does not hold any grudge against fate and people. "She had a sure way to regain her good spirits - work." Receiving nothing for her work, she goes to help her neighbors and the collective farm at the first call. People around her willingly use her kindness. The villagers and relatives themselves, not only do not help Matryona, but also try not to appear in her house at all, fearing that she will ask for help. Each and every Matryona remains absolutely alone in her village.

6) The image of Matryona among relatives.

What colors are Faddey Mironovich and Matryona's relatives painted in the story? How does Thaddeus behave when taking apart the upper room? What is the conflict in the story?

(Answer: The main character is opposed in the story by the brother of her late husband, Thaddeus. Drawing his portrait, Solzhenitsyn repeats the epithet "black" seven times. A man whose life was broken in his own way by inhuman circumstances, Thaddeus, unlike Matryona, harbored a grudge against fate An almost blind old man revives when he attacks Matryona about the upper room, and then when he breaks the hut of his ex-fiancée. Self-interest, a thirst to seize a plot for his daughter make him destroy the house that he once- Thaddeus's inhumanity is especially vividly manifested on the eve of Matryona's funeral. Thaddeus did not come to Matryona's funeral at all. But the most important thing is that Thaddeus was in the village, that Thaddeus was not alone in the village. Nobody talks about Matryona herself.

Eventual conflict in the story is almost absent, because the very nature of Matryona excludes conflict relations with people. For her, good is the incapacity for evil, love and compassion. In this substitution of concepts, Solzhenitsyn sees the essence of the spiritual crisis that struck Russia.

7) The tragedy of Matryona.

What signs foreshadow the death of the heroine?

(Answer: From the very first lines, the author prepares us for the tragic denouement of Matryona's fate. Her death is foreshadowed by the disappearance of the pot with consecrated water and the disappearance of the cat. the narrator is the death of a loved one and the destruction of the whole world, the world of that people's truth, without which the Russian land does not stand)

8) The image of the narrator.

What is common in the fate of the narrator and Matryona?

(Answer: The narrator is a man of a difficult family, behind whose shoulders the war and the camp. Therefore, he is lost in a quiet corner of Russia. And only in Matryona's hut did the hero feel something akin to his heart. And the lonely Matryona felt trust in her guest. Only to him she tells about his bitter past, only he will reveal to her that he spent a lot in prison. Heroes are related by the drama of their fate, and many life principles. Especially their relationship is reflected in speech. And only the death of the mistress forced the narrator to comprehend her spiritual essence, that's why it sounds so strong in the finale the story of the motive of repentance.

9) - What is the theme of the story?

(Answer: The main theme of the story is “how people live”.

Why is the fate of the old peasant woman, told in few pages, so interesting to us?

(Answer: This woman is unread, illiterate, simple toiler. To survive what Matryona Vasilyevna had to endure, and to remain a disinterested, open, delicate, sympathetic person, not to be embittered by fate and people, to keep her “radiant smile” until old age - what mental strength is needed for this!

10) -What is the symbolic meaning of the story "Matrenin's yard"?

(Answer: Many symbols of S. are associated with Christian symbolism: images are symbols of the way of the cross, a righteous man, a martyr. This is directly indicated by the first name “Matryona's court.” And the name itself is generalized. The yard, Matryona's house is the haven that the storyteller finds after long years of camps and homelessness. In the fate of the house, as it were, the fate of its mistress was predicted. Forty years passed here. In this house she survived two wars - German and Patriotic, the death of six children who died in infancy, the loss of her husband, who disappeared in the war. The house is decaying - the mistress is getting old. The house is being dismantled like a man - “on the ribs.” Matryona dies along with the upper room. With part of her house. The hostess dies - the house is completely destroyed. like a coffin - buried.

Output:

Righteous Matryona is the writer's moral ideal, on which, in his opinion, the life of society should be based.

Folk wisdom, taken by the writer into the original title of the story, accurately conveys this author's idea. Matryonin's yard is a kind of island in the middle of an ocean of lies that keeps the treasure of the people's spirit. The death of Matryona, the destruction of her yard and hut is a formidable warning about a catastrophe that can happen to a society that has lost its moral guidelines. However, despite all the tragedy of the work, the story is imbued with the author's faith in the vitality of Russia. Solzhenitsyn sees the source of this resilience not in the political system, not in state power, not in the power of arms, but in the simple hearts of no one noticed, humiliated, most often lonely righteous people who oppose the world of lies.)